Worship AVL May-June 2021

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Contents Issue 70

May–June 2021

NEWS SCALING UP Good Shepherd Church invests in Allen & Heath’s Avantis

4

QUALITY CHOICE Korean HOW chooses Audiocenter system

6

KEEPING THE FAITH First Pentecostal Church turns to Martin Audio

8

GENIE IN KOREA CTS TV selects LaON’s intercom system

10

BEACON OF HOPE ADJ lights up Gothic church in Germany

11

SOUND REINFORCEMENT Cornerstone enjoys rich sounds from DAS Audio

12

ON TOUR DiGiCo aids Kim Walker-Smith on her Worship Nights tour

14

PROJECTS LEOPARD ROCKS Meyer Sound helps 12Stone Church reinvent its ministry

16

COVER: IMMACULATE UPGRADE Yamaha, NEXO and DPA feature at cathedral 20 GOLD RUSH Mt Albert Baptist equips two levels with d&b speaker systems 22 NEW TECHNOLOGY Thai monastery embraces NDI

24

UNITED WORSHIP DWR moves with the times in South Africa

26

LIVESTREAMING Mill Plain UMC reinvigorates its congregation with Magewell 28 21ST-CENTURY STREAMING All Saints goes live with Blackmagic Design

30

KNOWHOW COMMUNICATION Gordon Moore manages remote operations

32

ICY BLAST Casey Hawkins learns to prepare for the unexpected

34

OFFLINE EDITING John Black examines offline console editors

36

Editor’s note

Email: kwallace@worshipavl.com

There’s no doubt that livestreaming is a word that we can’t seem to avoid at the moment. Even as we start to see glimmers of hope of a post-Covid world, livestreaming is here to stay. Following a meeting of church members, my Anglican church in the village where I live close to Blank Canvas’ offices in Tunbridge Wells has decided to embark on livestreaming and is currently enlisting the help of a local SI to install a new AV system – more on that in a future issue.

On page 30 is another example of an Anglican church in the UK that has updated its streaming equipment. All Saints Church in Northamptonshire has invested in two Datavideo PTZ cameras, one Blackmagic Design ATEM Mini Pro and a Kramer HDMI splitter to reach its parishioners worshipping at home.

Casey Hawkins found himself in a fix when snow hit his Texas church back in February. Despite all the measures the church has put in place during the pandemic, never did Casey imagine that there would be an occasion when no one was physically able to get into the sanctuary. Read how he overcame the problem in his article on page 34.

Similarly, Gordon Moore discusses how we can better communicate when we’re not all together in the same place. He believes we are moving into a world where both in-person, remote and online cooperation can result in effective teamwork. You can find his article on page 32.

I hope you enjoy the issue. Feel free to get in touch if there are any subjects you’d like us to cover in a future issue.

IN THIS ISSUE

TECHNOLOGY TESTING TESTING MSolutions puts AV-over-IP and HDBaseT to the test

38

CAMERA, ACTION Hitachi examines broadcast cameras for streaming

40

FINDING A BALANCE Bob Mentele weighs up cost vs technology

42

PRODUCTS Equipment launches and updates

44

THE TECH VIEW Audio team leader Isaac Eng provides a peek within NCC

58

16

22

36

24

Contacts GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

rlawn@worshipavl.com

sgould@worshipavl.com

cmoss@worshipavl.com

sluckhurst@worshipavl.com

cvalliere@worshipavl.com

PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR Jessica Ubhi T: +44 1892 676280

GUANGZHOU MANAGER Sue Su T: +86(20)85633602

abaker@worshipavl.com

nsmith@worshipavl.com

cyardley@worshipavl.com

jubhi@worshipavl.com

ssu@worshipavl.com

COVER: St Mary’s Cathedral of the Immaculate Conception PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 059/05/2020 PPS 1644/05/2013(022954) CIRCULATION: circulation@worshipavl.com All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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25/03/2021 11:27

NEWS

Good Shepherd Church scales up with Avantis KOREA As the previous digital console in Good Shepherd Church’s Glory Hall began to show its age, the HOW turned to Allen & Heath distributor, Sama Sound, to provide an Avantis console, along with a set of ME-1 personal mixers for the praise team.

Based in Bokjeong-dong, South Korea, the 600-seat Glory Hall is Good Shepherd Church’s second chapel and mainly used for morning worship. At present, Sunday services are also being held in the hall, with capacity reduced to allow worshippers to come together within the country’s social distancing rules.

Sama Sound has supplied a 64-channel, 42-bus Avantis mixer, complete with the dPack processing upgrade and a GX4816 AudioRack for onstage I/O. Another major change to the Glory Hall is the replacement

L–R: Ji Hyeon-seok with Kim Hyun-seok of the praise band’s wedge monitor speakers with a compact, discreet ME personal mixing system. Connected to the Avantis via an ME-U hub, six ME-1 units allow the musicians to tailor their own headphone mixes.

“Thanks to the ME-1 personal mixers,

the sound onstage is well managed, making mixing easier, and the performers are comfortable because the sound quality is very high and they are easy to operate,” explained Kim Hyun-seok, leader of Good Shepherd Church’s audio team.

The decision to invest in Avantis was influenced by the church’s positive experiences with Allen & Heath’s SQ series mixers, which were already installed in two of its spaces. An SQ-7 console manages audio in the 300-seat Vision Hall, a multipurpose facility used for youth worship and Sunday schools.

“The SQ inter face is very intuitive and the sound quality is excellent,” added Kim. “To be more specific about the audio quality, I would say that the resolution and sense of space are excellent. This is especially evident in the recording output.” An SQ-6 mixer has also been installed in the praise team’s rehearsal space. www.allen-heath.com www.samasound.co.kr

US HOWs invest in Listen Everywhere system

Jim Chase, media director at Good Shepherd Community Church USA Three US churches have invested in Listen Technologies’ Listen Everywhere solution which delivers sound via Wi-Fi directly to users’ iOS and Android devices through a free app that features customisable text banners, welcome videos and channel labels.

When a new pastor joined Boulevard Baptist Church, older members of the congregation began having difficulty hearing

the high and low inflections in his voice during sermons. With 60% of the worshippers aged 50 and older, the Anderson, South Carolina HOW tried turning up the sound system, thinking this would solve the problem, but it didn’t. The church first investigated a Bluetooth system for every person in the congregation, but this would have entailed a US$20,000 investment.

Eventually, the HOW turned to

Listen Technologies and its Listen Everywhere solution. Church officials trained congregants who had Bluetooth hearing aids on how to use the system. Moving forward, church leaders are planning on using Listen Everywhere for drive-in movie nights in the car park.

Good Shepherd Community Church in Boring, Oregon, had an ageing assistive listening system that needed to be replaced – many of the devices weren’t working so congregants with hearing loss stopped asking for and using them and couldn’t hear the service. Good Shepherd has customised the free Listen Everywhere app with its logo and colours. “We especially like how easy the app is to customise with welcome messages, links to custom content and our website, and the ability to even use our icons,” said Jim Chase, media director at Good Shepherd Community Church. Not only is the church able to broadcast audio around its campus so no one misses out on a service, but Listen Everywhere is also being used to keep people safe during the global Covid-19 pandemic, as congregants use their own devices, reducing the

risk of spreading the virus and the need for cleaning shared equipment.

Finally, River Oaks 5th Ward of The Church of Jesus Christ of Latter-day Saints in West Jordan, Utah, has used the Listen Everywhere system to host a socially distanced bingo event in its car park so congregants could get together safely. “To facilitate the event, I used the Listen Everywhere LW-100 server,” said Carl Brewer of the River Oaks 5th Ward. “The idea was to give the community a way to gather while remaining physically distanced for safety.” Using the system, the church broadcast the audio from the caller’s microphone to participants’ smartphones or tablets. From there, participants could listen on their devices or connect the audio to any Bluetooth device, including car stereos or Bluetooth-enabled hearing aids. The master of ceremonies called bingo numbers, asked trivia questions and joked with the community members. The church served dinner, drinks and treats to participants in their cars during the drive-in event. www.listentech.com

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Entertain. Educate. Engage.

26/03/2021 10:21

NEWS

Audiocenter system installed in Korean HOW KOREA Korean Audiocenter distributor Calla Media has recently finished a new church installation with the manufacturer’s Ar tist T45-DSP system. Sound reinforcement is provided by 10 T45-DSP active speakers plus four T115S-DSP single 15-inch subwoofers assembled in two clusters on the left and right of the stage.

The T45-system was chosen after the acoustician at the church – a university professor and professional sound engineer

actively working in the field – had compared Audiocenter with other brands on of fer. “We decided that reliability, cost/per formance ratios and ease of use are ver y impor tant,” the acoustician said. “We are satisfied with both the price and quality after the installation. Both the pastor and members of the church who heard the sound are ver y pleased with the result.” www.audiocenter.net

KLANG gets into the flow at Seven Rivers Church

The worship and tech teams learning how to use the KLANG:app on their iPads

computer on the network, also used to record services using Logic Pro multitrack software, is loaded with the KLANG:app and serves as the house engineer’s point of control.

“The musicians, vocalists and worship directors onstage have complete control over their own mixes; all I have to do is take a few minutes and update the labels on the channels,” added Seven Rivers’ technical director, Austin Haggerty.

“The KLANG system is very intuitive to operate for the musicians

because the iPad interfaces are so easy to use. And in the rare event where we have someone come in who needs help with it, I’ve got them up and running in a matter of minutes. There’s one musician who prefers the stereo mix option, but otherwise everyone is totally taken by the immersive mix. The sound of that is so natural because it follows them around onstage. Operationally, it’s the most hands-off system you could ask for.”

The musicians’ and vocalists’ reactions have been uniformly positive and enthusiastic. “The spatial ambience is what draws the most comments from them,” said Hill. “It just feels so natural, like you’re not using in-ears at all, and that’s the highest compliment you can pay to a monitoring system.”

The DiGiCo DMI-DANTE 64@96 and DMI-KLANG are housed in an Orange Box in the audio equipment rack

www.klang.com

USA Founded in 1983, Seven Rivers Church, a large and growing congregation in Lecanto, Florida, has adopted a KLANG immersive in-ear mixing solution for all of its stage monitoring needs. Installed as part of a full sound system upgrade completed by Louisville, Coloradobased Summit Integrated Systems, the church’s new KLANG setup consists of a DiGiCo Orange Box equipped with a DMI-KLANG card, which is capable of processing up to 64 inputs for 16 immersive in-ear mixes. The project also saw the church install a new L-Acoustics A15based PA system in its 1,000-seat auditorium, built in 2003.

“We were already on IEMs but I wasn’t thrilled with the setup we had, and I had already been researching alternative systems for several years,” explained church director of worship, Adam Hill.

“KLANG’s use of the iPad and their idea of immersive sound was interesting, but I was skeptical – I

figured it was just glorified stereo.

But [at InfoComm] they gave me a demo of the KLANG:fabrik and I was stunned. It sounded fantastic and its features were incredible. For instance, when one person maxes out their level on their channel, the next step is that the system automatically begins lowering the levels of the other sounds in the mix. I thought that was brilliant. Why hadn’t anyone else ever thought of that? Those kinds of features sealed the deal for me.”

The stage outputs are routed via analogue cabling to the rack of the Allen & Heath dLive S7000 FOH console installed as part of the sound system upgrade, and then over a Dante network via a DiGiCo DMI-DANTE 64@96 card into the Orange Box to the console itself. The signal goes out from the console’s direct outs (post EQ) to the Orange Box and its DMI-KLANG interface, then back to the console and into the IEMs. An Apple Mac mini-

www.sevenrivers.org www.summitintegrated.com

Vocalists can adjust their own immersive mixes to their liking

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The ATEM Mini Pro model has a built in hardware streaming engine for live streaming via its ethernet connection. This means you can live stream to YouTube, Facebook and Twitch in much better quality and with perfectly smooth motion.

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10/05/2021 10:16

NEWS

First Pentecostal Church keeps the faith with Martin Audio USA After adding a mid-sized chapel to its campus for multipurpose use, First Pentecostal Church in North Little Rock, Arkansas, has once again turned to Martin Audio to supply its sound system. The 232 main floor seats and further 48 seats in the balcony are covered by an O-Line column micro array, specified and installed by Nashville-based Spectrum Sound.

“The new room presents an auditory challenge as the floors are tiled and the ceiling is more than 12m high, creating quite a reverberant space,” explained the church’s director of communications, Zachary Ward. “Added to that is the need to reliably produce clear, intelligible speech during a sermon or dinner involving a speaker while also being capable of producing rich, vibrant music and vocals during worship. The Martin

Audio system accomplishes these demands well.”

Spectrum has provided two hangs of 16-deep O-Line, run in two-box resolution from a pair of iKON iK81 amplifiers, with

a pair of white floor-mounted SX218 subs placed unobtrusively between large floor-to-ceiling columns, powered by an iK42. First Pentecostal Church not only represented Spectrum’s

first deployment of O-Line but its first Martin Audio installation experience.

The systems were pre-assembled in workshops and flown at trim, to test performance. “We were happy with the sonic result right at the outset and adding the dual 18-inch subs made it a truly full-range system,” commented Spectrum Sound’s Ken DeBelius.

The other challenge was presented by the separate upper-balcony seating section. “I was loathed to add a set of delay fill loudspeakers, once again with aesthetic considerations being a major concern. The main arrays needed to be capable of projecting up into the balcony, and this they did extremely well.”

Ward added: “We are extremely satisfied with the performance of O-Line.

With such a unique room, including high ceilings and several stained-glass windows reaching more than 8.5m tall, O-Line provides even coverage and clarity while accomplishing our main goal, preserving the overall aesthetic of the room.” www.martin-audio.com

Elation provides mobile lighting solution for Traders Point USA Traders Point Christian Church has multiple locations around Indianapolis.

The HOW has turned to local AVL integrator, Force Tech, for a new key light solution for one of its new mobile campus locations. “We wanted a fixture that had an LED engine, a full framing system, variable white control and the ability to fully pan and tilt,” stated Alex Holt, creative experience director at Traders Point. “The fixture also needed to be road-worthy because our campus had to load in and out each week.”

Nick Olson, sales engineer at Force Tech, worked closely with Traders Point on the upgrade and proposed Elation’s Fuze Profile CW, an LED framing moving head with a white LED engine and

gobo/colour options that can be used anywhere a fully automated ellipsoidal fixture is required. The church acquired the luminaire and first had the opportunity to use the fixtures while

updating the lighting package for one of its new mobile campus locations.

“The Fuze Profile CW was a new fixture to our team,” said Holt. “After getting our hands on it, I was hooked.

It delivered everything we needed and more at a price point that couldn’t be found on the market. The light output blew me away. The white it produces is extremely clean, and the field it produces is incredibly even from edge to edge. The framing system is precise and consistent every time. I knew this fixture was going to be the future of our key lighting in all of our auditoriums.”

Due to Covid-19, the church had to temporarily suspend gatherings at the portable campus where they were using the new fixtures. The interruption, however, gave them a chance to start

demoing the fixtures at their broadcast location, a 3,000-seat main auditorium at their primary campus, Traders Point Christian Church Northwest.

“With the move to a 4K broadcast system, we knew our lighting needed to be best-in-class,” Holt added. “Its ability to create an even, soft and smooth field of light across an 18m platform gave our broadcast a fresh, sharp and clean look. And the ability to adjust colour temperatures allowed us to dial in the perfect look, no matter what we were creating.”

The lighting upgrade initially consisted of six units but, after experiencing the fixtures, the church made the decision to purchase 20 additional units through Force Tech to completely replace its conventional Leko key lighting system. Holt commented: “With 10 fixtures across the front of our platform, six along the wings and four over the platform for top and back light, we can illuminate any part of our platform in a full 360° of light. The old problems of having to re-aim and rehang conventional fixtures for new stage configurations and the addition of special elements have disappeared.” www.elationlighting.com

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09.02.2021 10:06:09 25/03/2021 14:44

NEWS

CTS TV selects LaON’s Genie intercom system KOREA Christian Television System (CTS TV) based in Seoul has chosen LaON’s flagship intercom system, Genie, for its two studios and art hall. CTS TV preaches the gospel to non-believers as well as to 50,000 Korean churches and 12 million believers. It is described as the first 130-year-old mission video broadcasting station in Korean church history to produce mission, education, culture, art, lifestyle and information programmes.

Previously, CTS TV had been using old analogue intercom systems for a long time and needed to replace

them with a new, state-of-the-art system that would help the station increase programming and events during the pandemic. A Genie BS1000 base station has been installed in the studios’ control room and four four-wire lines have been connected to the existing matrix system. LaON has also provided different communication group channels for the beltpacks in the two studios.

Meanwhile, a second Genie system that includes two remote antennas has been installed in the art hall located inside the CTS TV

building. The wireless beltpacks in the art hall and studios can be used together if more beltpacks are required by linking the base station to the beltpack screen menu.

Joonyoung Jung, technical director at CTS TV, commented: “The audio quality of Genie is really excellent

and it is scalable with any number of beltpack connections. Also, Genie is a very efficient and flexible system to design and one system can be used for multiple studios.”

Miyoun Park, sales manager at LaON Techonlogy, added: “Typically, between one and three separate wireless intercom systems are used in a broadcasting studio. With earlier intercom systems, there was a limit on the number of group communication channels, so it was normal for each team to have its own system. However, Genie supports multiple group channels which can reduce the amount of systems needed if the client’s workflow allows it. It is one of Genie’s big advantages.” www.cts.tv www.laon-tech.com

R i c K o t p T b 2 2

TW Audio and Powersoft deliver a high-energy performance UK Flipside Soundsystem has assisted Ashington Parish Church with a new audio installation, helping to modernise the building by delivering a balanced sound for energetic performances, streaming sessions and small communal services. The systems integrator installed a variety of speakers and amplifiers from TW Audio and Powersoft to cover the space.

“Our original setup included speakers up on the front and third beams and down the aisles, but there were some dead zones in the top corners and there was no ability to time align the delay speakers,” said Simon Barrett, sound engineer for Ashington Church. “While it did mean we had a better signal-to-noise ratio, the speakers just couldn’t

reproduce the sound we wanted and the dispersion was too wide.”

Barrett turned to Flipside to put together a permanent solution that would meet the needs of the church. Working with TW Audio UK, the team took into consideration the narrow dispersion requirements and the fact that Barrett wanted something relatively new on the market and went for a solution

comprising two T20is, a B30i, a C5 and an M8i.

“Working with an architect, we could figure out the best way forward as there were already cable routes under the floor from a past renovation and so it was all about finding the least intrusive way to get all of the runs up to the locations,” recalled Flipside’s managing director, James Cooper.

For the amplification setup, Flipside took advantage of the TW Audio presets in the Powersoft Quattrocanali and Duecanali amplifiers which Barrett connected to a remote on/off switch that is used during live performances. “I’m really looking forward to listening to a full band on this system as it’s great to have a setup that I know will work and that I can adjust if I need to. I’ve been learning how to use the Powersoft system and I’m already enjoying the flexibility, so I can adjust things like the tops-to-sub ratio, in terms of level, if and when I need to.”

As well as approving the overall sound quality, Barrett also appreciated Flipside’s hands-on approach during the installation process. “The team said they would come and do an audio demo of the system, free of charge, which wasn’t

part of our original agreement, so I really liked that extra level of support.

They also ran some extra cables for me such as a DMX as well as a couple of mic and Ethernet cables and terminated the wireless ones, as they had time to spare. That was really kind of them, and it certainly helped the process.”

The result has seen positive feedback from the church congregation and visitors. “It’s such a smooth yet clear-sounding system that is practically invisible and so all the comments have been really encouraging,” Barrett concluded.

“Even the worship leader has said it is a system worthy of his new acoustic guitar.”

N h I 2 K r H H R w t a a

www.flipside-soundsystem.co.uk

1

www.powersoft.com www.twaudio.de/en

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A b K

25/03/2021 11:13

NEWS

Analog Way provides a new lease of life for Florida church USA

Image courtesy of Damaris Ziegler-Krethe

ADJ shines a beacon of hope on Katharinenkirche GERMANY Regarded as one of the most important examples of Gothic church architecture in Germany, the Katharinenkirche in the small village of Oppenheim was lit up throughout the Christmas season for local people to enjoy at a safe distance.

The lighting project ran from the beginning of advent in late November 2020 to Epiphany on 6 January 2021.

t.

Image courtesy of Nico Berres

Based in the neighbouring town of Nierstein, Full House Eventtechnik had invested in 26 of ADJ’s 12P HEX IP and 18P HEX IP LED wash fixtures, 21 of which were used to light the Katharinenkirche for Christmas. “I really like the 12P HEX IP and 18P HEX IP fixtures,” commented Full House Eventtechnik owner, Kjell Raaz. “They were outside for six weeks straight in Oppenheim, with the temperatures going down as low as –5°C, and they all worked with absolutely no issues.”

Kjell used 11 12P HEX IP and 10 18P HEX IP fixtures to illuminate

the entire exterior of the ornate building. Chosen to reflect the liturgical colours used by the church, the colour scheme of the lighting changed on Christmas Day. During advent, the building was lit in violet and blue and then, from Christmas Day until the end of the run, the palette was switched to golden amber and cool white. The colours alternated between adjacent fixtures and Kjell programmed slow odd/ even colour fades for each of the two different looks to animate the display in a subtle way. In addition, at the start of the project the lights were divided into four groups. Initially only one group was illuminated, with additional groups added each week throughout advent to serve as a visual countdown to Christmas inspired by the advent candles lit progressively throughout the season inside the church.

Through effective placement of the lighting fixtures, as well as imaginative programming, Kjell was able to lift the Christmas illumination of the Katharinenkirche from a simple exterior lighting project into a truly artistic endeavour. His work was not only appreciated by the church’s staff but it also caught the attention of the media, featuring on a local news broadcast during the holiday season. Most importantly, it achieved its goal of shining out a beacon of hope to the local community who were reminded of the church’s presence at the heart of their town, even if they couldn’t attend Christmas services in person. www.adj.com www.fullhouse-eventtechnik.de

Life Church, an outreach-driven church in Wesley Chapel, Florida, has installed Analog Way’s Pulse 4K multi-layer video mixer and seamless presentation switcher to power a new LED videowall in the sanctuary.

Technology solutions provider AVnew, of Altamonte Springs, Florida, served as the integrator for the installation.

“They wanted to enhance their stage presence for the worship experience and decided on a 11m x 5.5m Thor AV 3.9mm LED videowall as a backdrop,” explained Gil Parente, CEO and owner of

the songs. As soon as we got the wall and put content up, we saw how it pulled the back of the room forward to make everyone in the sanctuary feel part of the content.”

The new LED videowall displays looping motion video backgrounds during the worship portion of a service. Content is also created in-house relating to sermons or holidays, such as a short video that was recorded for Christmas Eve. Supporting a full contemporary band with 10–12 vocalists, the videowall displays lyrics, generic motion video

AVnew. “They needed a processor that could handle the videowall’s custom resolution, offer multiple layers for PIPs, be user friendly for the operators and cost-efficient.

Analog Way’s new Pulse 4K fit the project from all of those aspects.”

Steve Mink, production director at Life Church who heads a technical staff of three, says that the church used standard video projectors prior to acquiring the LED videowall. The sanctuary has approximately 1,200 seats, which were filled to 80–90% capacity on any given Sunday prior to the pandemic. “There’s a big disparity between projection and an LED videowall,” he noted. “The videowall communicates to the whole sanctuary, from the stage platform to the back wall about 41m away – a deep viewing area.

Content is bigger and easier to read for teaching and speaking, and the videowall enables us to create a more immersive atmosphere around

backgrounds and custom content with lyrics embedded.

The tech staff uses a web GUI to log on and control the system.

AVnew installed LynTec relay panels for remotely powering the system on and off and also integrated QSC’s Q-Sys control on several touchscreens so the church’s volunteer operators can easily turn the system on and off, trigger presets and change settings.

The Pulse 4K powers an array of creative backgrounds that are used like greenscreens for the hosts and guests appearing in the church’s weekly video podcasts. The system is set up to display IMAG on the videowall during services but this technique has not yet been implemented. “The Pulse 4K is just great,” reported Mink. “Frankly, I don’t think or worry about it. It just works.” www.analogway.com

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NEWS

DAS Audio speakers increase engagement at Cornerstone Church USA In order to cater for both traditional and contemporary services, Cornerstone Church in Fresno, California, has upgraded its sound reinforcement system with loudspeakers from DAS Audio’s Aero, UX and Event series. The HOW enlisted help from Jag Sound Productions and owner, Juan Gonzalez.

“Cornerstone church reaches a wide gamut of worshippers from all walks of life,” Gonzalez explained. “The sanctuary incorporates a 26m-wide

Juan Gonzalez

stage area and, from there, the room fans out to a width of 44m along the back wall. The room’s depth also measures 33m. The space seats approximately 1,400 worshippers and also serves as a performance venue for a variety of touring acts. With this in mind, it was crucial that the new system offered wide sound dispersion to reach everyone and that both music reproduction and speech intelligibility were first rate.”

The new sound system consists of two arrays of 10 Aero-20A line array enclosures flown each side of the stage, while low-frequency support is provided by two-per-side UX-218A powered subwoofers. For front fill, Gonzalez also deployed four Event-26A line array enclosures. “These loudspeakers were the perfect choice to cover the first one or two rows of seats directly in front of the stage area,” Gonzalez added. “Their small footprint doesn’t interfere visually with the activity taking place onstage

and they do a great job filling the area between the left and right hangs.

“We needed loudspeakers that offered a combination of excellent music reproduction capability while also providing first-rate speech intelligibility.

With this combination of loudspeakers, the music sounds well defined and rich, while speech is clear and articulate.

If the congregation can’t clearly hear what the pastor is saying, then the message is lost.”

In the short period of time the new system has been operational, Gonzalez

reports his client is extremely pleased.

“Pastor Franklin tells me he is very happy with the new sound system.

He said that numerous members of the congregation have noticed a dramatic difference as well. The new DAS system makes a tremendous improvement to the sound throughout the room and, in the process, makes services more engaging for everyone in attendance. It’s been a win–win for everyone involved.” www.dasaudio.com

Jibet Center immersed in Christianity with SPAT KOREA In its search to find new ways of teaching religion and spirituality to young people, Korea’s Presbyterian Association has created an interactive environment that teaches the tenets of Christianity at its newly opened Jibet Center in Seoul. Occupying the entire third floor of the new centre, the interactive environment features immersive audio driven by FLUX::Immersive SPAT Revolution.

Local SI Myungsung Nano Systems created the solution by implementing a 12.1 channel audio setup designed

by Dohyung Kim, with music and sound designed by electronic musician Joonha Kim. A total of 12 6-inch loudspeakers from Korean manufacturer HMH cover the room, along with a single HMH subwoofer.

The HMH enclosures are placed along two walls, with SPAT localising the audio for a range of immersive performances.

“With the network configuration, we are able to run audio and OSC transmission at once, making it easy to configure the system, as well as sending and receiving high-quality multichannel signals,” observed

Kim. “It’s also interesting to find the optimal transmission protocol depending on each location. With around 32 sources, we were able to

Adjacent to the main space is a fully equipped recording studio, and students are encouraged to create and contribute their own content as well.

operate with only two MacBook Pros, a playback and processing application.

This enabled me to mix and perform various other tasks through a single LAN terminal and interact directly with 360° video during pre-production.”

The space includes four-sided interconnected walls of video accompanied by immersive audio.

“SPAT’s integration with multiple DAW platforms, OSC and MIDI, and its powerful flexibility were of paramount importance for an environment like this one, where children create multimedia content for immediate implementation,” Kim furthered.

“SPAT enabled us to program a system where azimuth can be

programmed to interact directly with, for example, an external synthesiser’s LFO controls, or to enable the pitch control to move the Y-axis position.

We were able to preconfigure speaker arrangements, panning and routing to make it easy for the children to come in and use the system.”

Early adopters of immersive audio, Myungsang Nano Systems has been behind a number of projects on the Korean peninsula, including the recent Dolby Atmos system at Sungkyul University’s Department of Arts.

Nevertheless, the selection of SPAT Revolution for the Jibet Center project was a logical one, says Kim. “There are always challenges in live situations but SPAT is really the best solution for this installation. It is a powerful tool that can bring out my creativity. I have used it to try some new arrangements of my music for binaural or immersive shows, and it always inspires me to try new things. With SPAT, anyone can build a system at a reasonable cost and expand the scope of your work to reach your imagination.” www.flux.audio

12 WORSHIP AVL May–June 2021

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STUDIO MONITOR SYSTEMS

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NEWS

Kim Walker-Smith goes Axient Digital powers sound at St John at on tour with DiGiCo Hackney Church USA

Singer/songwriter and Jesus Culture worship leader Kim WalkerSmith has used a pair of DiGiCo SD12 96 FOH and monitor consoles on her three “Worship Nights” mini-tours of large churches and Christian universities, all sold out to half capacity per Covid-19 protocols.

Wichita Falls-based Front Porch Productions supplied the consoles which shared an SD-Rack equipped with 32-bit Ultimate Stadius mic pres on an Optocore fibre-optic loop.

According to Front Porch co-owner Aaron Talley, who has also been serving as the monitor engineer for each of the four-show runs, he and his business partner, Matt Drake, purchased the consoles three years ago on a leap of faith.

The FOH mix for the tour was in the capable hands of Daniel Ellis, who, in addition to working with David Crowder and The Digital Age, has been Jesus Culture’s FOH engineer for the past decade. “I’ve been using DiGiCo fairly exclusively for a while now,” he added.

“The SD12 is perfect for what we do with the number of inputs and busses it has, and its compact size helps us easily fit our touring package into one bus trailer. I’ve had a Waves server at FOH for Kim’s latest tours, but I’ve kept most of the processing on the console, which has sounded great.

“The macros on the SD12 are also amazing,” he continued. “One of my favourites is the one that bypasses all Waves plug-ins. I’ll do that every now and then during soundcheck just to make sure I’m not going down a plug-in rabbit-hole and making the mix worse. Also, I really love using MIDI to trigger things. It’s such a simple pleasure to fire a snapshot that can play a specific song on my

UK

Kim Walker-Smith

A cherished landmark, St John at Hackney Church was established in 1275 and has been part of the East London community ever since. Although a church in the traditional sense, since 2010 it has welcomed major artists such as Robbie Williams, Ed Sheeran and Emeli Sandé. The HOW has updated its sound system with the aim of creating one of London’s premium live event spaces: a “Cathedral of Creativity”. The project was supported by the National Lottery Heritage Fund in collaboration with designer John Pawson CBE, visual artist Es Devlin and architects Thomas Ford & Partners.

on our production network. This means we are able to remote control the units over our network to check on via Workbench. My favourite feature is an extension of this remote capability within our mixing console.

On the preamp page on the Allen & Heath dLive, we are able to see the RF strength, battery life, receiver name and also remote control the gain level of the receiver. This has got to be the neatest party trick, where normally, without using Workbench or being at the receiver, the engineer would only have access to a Dante trim level, or an analogue gain from the receiver into the desk – but to actually gain the wireless mic, this is life changing.

Project manager Ben Musson commented: “I had used the Shure ULXD previously and had found it really reliable and easy to work with. The Axient range was a natural next step. What I found particularly impressive was its efficiency in the frequency spectrum and with the RF it can gather through the antennas.

This meant that we were able to push the limit on placement, keeping them out of sight and as discreet as possible.

“For setup, we relied on our production partners at Southby. We haven’t had any problems since and the system has been totally dependable. We use Axient receivers

“It’s a real privilege to use worldclass equipment like Shure in a context that is about so much more than being a premium events space. As a church, we are rooted in our community too, with our amazing Lighthouse project caring for people in need all over East London, doing incredible youth work, kids work and so much more.

Our ultimate vision is to bring hope to the people of East London, and it’s amazing that my work is part of a much bigger story than just the equipment and the space in front of me.”

laptop and turn up a fader without touching it.”

At the other end of the fibre loop, Talley reported that the tours’ relatively sparse input count of only 36 channels is complemented by an equally modest count of six stereo IEM mixes onstage: two for vocalists, plus keys, electric guitar, bass and drums. “This has been the lowest number of mixes that I think we’ve ever had and the console can obviously handle much more thrown at it, but I’ve been really happy with how it’s performed. I’ve only used the desk’s on-board processing on my end – EQ, compression and reverb – and the sound quality has been top-tier. Daniel and I have also really enjoyed the Con Send and Receive function on our consoles; it’s an absolute necessity for us.” www.digico.biz www.frontporchpro.com

FOH engineer Daniel Ellis at the SD12 96 desk

www.shure.com

14 WORSHIP AVL May–June 2021

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PROJECTS

12Stone rocks to Leopard

op ar Es Co pa re W th no st

The 12Stone campus at Sugarloaf

12Stone Church has reinvented how it delivers its ministry with the help of local SI Clark and Meyer Sound’s Leopard system

12Stone insisted on adopting a Meyer Sound Leopard system

IN THIS DIGITAL AGE, THE WORDof-mouth endorsement remains the most powerful advertisement to any successful business. Happy clients, referrals and great reviews have all played their part for a systems integrator headquartered in Georgia over the past quarter of a century.

Specialising in live audio, concert lighting and broadcast video systems, the Clark design/build specialist has taken on new challenges and increasing diversification. Today, the growing team integrates AVL designs into government courtrooms, corporate ivory towers and partners with entertainment industry standard bearers. However, the sanctuary and auditorium remain the core focus for a grass-roots company that continues to assess and assist local churches reach their communities in innovative ways.

Luke Roetman has served on the business development team at Clark since 2019, but he most definitely does not consider himself a sales agent. Prior to his current employment, Roetman earned his stripes as an audio engineer at the megachurch, North Point Community

Church in the Atlanta suburb of Alpharetta, for almost 14 years.

“Ultimately, Clark supports people and businesses – to genuinely help people find the least expensive, right solution and support them for years to come.”

Having started out on its journey in 1995 focusing on houses of worship, Clark’s loyal customer base continues to thrive in this vertical sector throughout the US. However, its experience in designing and implementing AVL systems has led to an intentional diversification of their business model. “More recently, we have attracted the interest from the entertainment and maritime sectors in addition to corporate organisations such as construction, government institutions in addition to sports broadcasting,” explains marketing specialist, Mikael Ritter.

To date, Clark has worked on 1,000+ projects with repeat business a common theme ensuring continued growth. And the company has not escaped the attention of one of the fastest-growing churches in the US. Located in close proximity to Clark’s headquarters, 12Stone Church

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operates multi-site congregations around the Atlanta metropolitan area.

Established in 1997 as Crossroads Community Church by founding senior pastor Kevin Myers, 12Stone was renamed in 2007.

With the onset of the pandemic, the church’s 12Stone Home initiative now creatively combines remote streaming and in-person worship. The

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combined live worship and video production space. As such, the 12Stone production staff turned to Clark together with several other contractors during the pandemic lockdown in the summer of 2020.

From the point of first contact between 12Stone and Clark, a tight timeframe of eight weeks was given to install and commission a loudspeaker and mixing console system into the upgrade room. “As a systems integrator, we have our favourites, but need to remain brand agnostic,” furthers Roetman. “Like four of their other campuses, the church specified a Meyer Sound Leopard loudspeaker solution to replace an ageing point source system. In addition to familiarity, support and servicing, this addition would also provide a standardisation across all seven campuses in terms of audio consistency. We then set to work to create a design following our programming session with the 12Stone central leadership team.”

As the entire auditorium was benefitting from an eight-week upgrade, other contractors worked alongside Clark. Project manager Brandon Byrd ensured that the Clark installation team could negotiate its way through the crowded house without coming into conflict with

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church, Taylor Davis. “We realised we wanted to build a space that would be focused on an intimate experience, one that breaks down the walls. But once we could come together, we wanted to have the energy of the people gathered in the room. It’s a delicate balancing act every week.”

Sugarloaf’s 900-capacity auditorium required a transformation into a

Clark configured the Meyer Sound setup using EASE and MAPP 3D software

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new format of production demands more advanced technical flexibility and, as such, this prompted a shift in logistics by relocating service broadcasts from the Lawrenceville campus to Sugarloaf. “When we had to close down our campuses and push everything online, we had to reinvent how we do ministry,” commented production director for the

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PROJECTS

The 12Stone Home initiative combines remote streaming and in-person worship

The sanctuary has been upgraded to host hybrid services the other contractors working in the room. “I supported Brandon onsite to ensure everything went smoothly working alongside the 12Stone central team, our suppliers and our own internal team. The Leopard loudspeaker system was installed and commissioned within one week in the main sanctuary. It was critical that the new concept was up and running so church members could feel connected.

Meyer Sound partnered with us to move quickly, so we had everything in place inside four weeks prior to going onsite.”

In its current end-fire configuration, the system comprises nine Leopard compact line array loudspeakers per side with two 900-LFC low-frequency control elements flown behind each main array. Seven 1100-LFC elements in a horizontal array under the stage provide further LF extension with two Ultra-X40s and six UP-4slims serving as side- and front-fills respectively. Clark’s Tom Donohue supervised the system design with final tuning by Clark’s Ed Crippen. Two Galileo Galaxy 816 eight-in/16-out loudspeaker processors are capable of sharing 24-bit/96kHz multichannel audio across an AVB network.

The room has three distinct areas with a café teaching environment on one side, a performance area centre and a living room teaching environment for the pastor’s teaching on the other side. “We went with Leopard because we’re so accustomed to it,” adds Davis. “It’s part of our audio DNA at this point but, for this new ministry, it also gives us extraordinary flexibility. We have enough Leopard elements and subwoofers to change the room to

any configuration, including in-theround with four arrays. Clark has created a touring-style production with portable decking so we can turn the room or put the stage in the centre.

All the power for the PA and lighting is Socapex to rolling distros and all audio and lighting data originates from racks in the same backstage area.”

A café teaching environment forms part of the 12Stone Home format In addition, Clark also supplied two DiGiCo Quantum 338 digital audio consoles for FOH and broadcasting requirements and repurposed 12Stone’s existing SD5 at monitors. Enhanced mixing options are provided by a Waves SuperRack that accesses plug-ins in a live setup from a SoundGrid DSP server. Clark ran omni cables for

The Sugarloaf campus relies on DiGiCo Quantum 338 consoles for FOH and broadcast mixing The volunteer operators and the equipment work in unison at 12Stone. “Many of our team members come from a touring background, so we are comfortable operating in this environment as well. We lean heavily into the volunteer culture and have a team who mix across our campuses, so our goal is to make each mixing environment as familiar to them as possible. The combination of a properly tuned Meyer loudspeaker system and DiGiCo consoles provides our volunteers with the best head start on a mix and gives them the tools to succeed on a Sunday.”

the loudspeakers and consoles, but 12Stone’s technical team configured the consoles for its own bespoke requirements. Microphone inputs include 16 channels of Sennheiser Digital 9000 wireless. The choir and musicians monitor themselves on Shure PSM 1000 IEMs. Flexibility has also been added to the visual elements of the new production setup. A total of 150 Unilumin Upad III 2.6mm panels combine to create a standard 9m x 3m (WxH) central LED wall and an auxiliary side screen can be easily created when required. In addition to four pre-existing Grass Valley LDX 80

HD cameras, 12Stone also acquired two portable Canon ME200S cameras together with Vaxis Storm 800 transmitters that promote video content outside the main sanctuary.

Reflecting on the work, Roetman enjoyed working with a professional client who was willing to stretch traditional boundaries. “12Stone was trying to do something different in this room, so they challenged us to provide them with room flexibility.

Essentially, what we have installed is a fixed install PA but, as the stage is portable in nature, it can easily be reconfigured for different setups. 12Stone can simply lower the Leopard system to the floor for redeployment. It was immensely satisfying to work alongside such a cool partner.”

“This campus was rebuilt with 12Stone Home in mind,” adds audio director, Dennis Frazier. “We wanted to make sure those who now can come in person – about one-third capacity currently – receive a topnotch experience. It’s an important part of the broadcast for them to react to the teaching with applause or laughter and our new Leopard system certainly helps ensure they have the best possible listening experience.”

The improvements provided by the new system are noteworthy. “I could immediately tell a difference in 8kHz and above. The clarity without harshness is incredible. Also, the low end is tight and responsive. The 1100-LFCs gave me exactly what I wanted in terms of punch without being overwhelming.” www.clark.is www.meyersound.com

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PROJECTS

Th The NEXO M6s are painted and embellished in gold

A DPA 4098 microphone on the podium

Immaculate upgrade Yamaha, NEXO and DPA all feature as part of a significant refurbishment at St Mary’s Cathedral of the Immaculate Conception in Portland, Oregon BUILT NEARLY 100 YEARS AGO, St Mary’s Cathedral is the seat of the Roman Catholic Archdiocese of Portland. Even after an upgrade in 1996, the audio failed to live up to the expectations of the parishioners in this beautiful and elegant house of worship. Earlier in 2020, Alpha Sound was contacted to solve complaints from worshippers who were unable to hear or understand speech in the highly reverberant acoustic space.

Devin Sheets, lead engineer at Alpha Sound, describes the church as “the only venue of its kind in our area; modernised yet classical, and quite traditional in a way that is rare in the US these days. The original point source PA system was located in the ceiling behind cloth panels, and it’s fair to say the sound was bad, and the coverage awful. The room is so reverberant, with some 4.5–5s of decay, that a line array solution was the only option.”

Alpha Sound has become a committed user of sound reinforcement solutions from the NEXO and Yamaha catalogues, and Devin explains that NEXO’s compact GEO M6 line array has proven itself in many of its house of worship installations. “It is our best shot at getting intelligibility in these situations,” he says. “Instead of spreading unwanted sound everywhere like a floodlight, which leads to a muddy and frustrating result, the unique M6 high-frequency horn focuses the sound like a laser beam on the seating areas alone. This produces a very big and very clear sound from a very small package.”

Using NEXO’s proprietary NS-1 software modelling tools to plan the system, Alpha Sound arrived at a simple design. Main arrays of six modules of NEXO M6 per side handle the nave, with additional, smaller, three-module per-side clusters of

The Yamaha MRX7-D processor M6 taking care of the transept and aisles. A pair of NEXO’s supercompact ID24 point source cabinets in the ceiling provide contingency coverage for the small balcony area.

Having decided on the design, the Alpha Sound team had to ask the client if the main arrays could be hung in the open air, rather than being hidden away like the previous

20 WORSHIP AVL May–June 2021

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PROJECTS

The DPA 4097 micro shotgun microphones hang from the ceiling

happened with DPA – the company’s microphone demos and rentals really made a sonic impression that was too good to ignore.

“The placement of the mics was crucial, as they did not want any microphone stands regularly in the way,” says Devin, “so we hung the DPA 4097 micro shotgun microphones from the ceiling, and also the two pairs of DPA 4006 mics for the organ and ambience.”

Alpha Sound has also installed four DPA 4011 mics on goosenecks and two more on short stands for the various special events the HOW hosts where the position of the choir changes and other instruments are added. The two DPA 4099P piano microphones can also be left inside the piano when the lid is closed for storage, eliminating the need to set the mics back up before each use.

“Everything about this space is elegant and high end,” describes Devin. “We had rented some DPA 4006 omnidirectional, 4011 cardioid and 4099 instrument microphones a few years ago with incredible results, and the sonic quality really stuck in our minds.

Combined with the industry name recognition, it was obvious that we

quote to include this mic in the final install.”

In addition to eliminating the need for stands on a regular basis, there was an immediate requirement to solve the intelligibility issues both in the room and for the livestream.

“We needed microphones that would sound as natural and clean as possible,” says Devin. “This way, we could ensure that we were not compounding the inherent difficulties with the acoustics. Additionally, there are several fill speakers nearby, which frustrates the ability to achieve gain from the presenter microphones as they move about the venue. The DPA 4098 podium microphone and the DPA 4080 miniature cardioid lavaliers are absolutely astonishing in terms of inherent gain before feedback. For the livestream, having dedicated pairs of microphones for the piano, organs and choir really helps to clear up the sound when combined with the 4006 ambient mics in the centre of the room to pick up audience responses.”

Duane reports that reactions to the new system have been incredibly positive. “NEXO’s GEO M6 line array speaker system provides smooth and even coverage to every seat, and

system. “Our clients were very nervous about the aesthetic impact of the loudspeaker hangs,” says Duane Sheets, president of Alpha Sound. “We had to promise to do everything in our power to make them disappear.”

That promise involved trying no less than 20 different paint samples on the M6 cabinets, and 14 different designs of hand-painted gold embellishment, to help the arrays fit discreetly into the architecture of the church and match its classical Italian décor. “This client paid more attention to detail than anyone I’ve ever worked with; in fact, it was rather thrilling to collaborate with them,” adds Duane.

“And it shows in the results.”

A Yamaha MRX7-D processor has been installed for easy day-to-day operation of the system and was configured to allow turn-key control by iPad and wall panel so that non-technical church staff could use the system elements with simplicity. Around 80–90% of the time, the system is used for spoken word, with occasional piano, trio, quartet or choir performances, but the client wanted to future-proof the system for special events and concerts in the long term. A Dante digital network provides stability and future expandability, and any visiting engineer can just plug into the

should be moving in the direction of DPA for our high-end clientele.

We have used and sold a few DPA products in the past for smaller jobs as a test run before deciding as a company to move in the direction of integrating DPA for these highend situations. In particular, the DPA 4098 was used at a small Catholic church install nearby just a few months prior to the St Mary’s installation. It was so impressive that we amended the St Mary’s job

possesses a very natural frequency contour which complements the venue’s acoustics for both speech and music. We had people telling us they could understand everything effortlessly, some for the very first time. For St Mary’s, this system has met their highest expectations both in terms of intelligibility and aesthetics.”

Four NEXO ID14 monitors system and have immediate digital access to all of the mics, processing and NEXO NXAMP4x1MK2 amplifiers.

“They have gone to great lengths to beautify the space, and we wanted microphones that would complement the quality of the NEXO and Yamaha equipment we installed,” continues Devin. “We have always loved the ‘natural’ sound of the NEXO/ Yamaha product lines; it was their sound during demos that originally drew us towards them. The same

www.dpamicrophones.com www.nexo-sa.com www.yamahaproaudio.com

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PROJECTS

Worth its weight in gold Mt Albert Baptist refreshes the AVL system for its auditorium and new lobby and café areas

Mt Albert Baptist dates back to 1910 FOLLOWING THE OTAGO GOLD Rush in Central Otago, many of New Zealand’s early speculators and pioneers settled down to start a life in their New World. Far away from their roots on other continents, these immigrants gravitated towards the main towns to form communities with churches at their heart. Several generations on and Mt Albert Baptist in Auckland has rediscovered audio gold with the help of systems integrator and possible alchemist, Halogen Audio.

The multigenerational church draws congregants each Sunday for contemporary and traditional multicultural services. Community minded, Mt Albert Baptist hosts a multitude of events, including Global Café Nights, an international Street Food Festival, English classes, Mainly Music and Kids Forever Christian Preschool. Following years of fundraising activities, a long overdue extension and rebuilding of the main auditorium was conducted together with a new lobby, café, kitchen and kids’ spaces. Not only would this project facilitate further growth in the church, but the building extension increased the church’s capacity for community events and outreach.

To support the building extensions in the various spaces, a refreshed system including audio, lighting and visual displays was stipulated.

The brief was to install a new audio system within the auditorium that would provide even coverage and frequency response for speech, worship and community events.

A view of the auditorium from the stage

d&b 8S cabinets serve as delays in the auditorium Additionally, a BGM and speech reinforcement system was stipulated for the lobby/café. This secondary audio system needed to be used in either standalone mode with line and mic inputs or could function as an extension to the auditorium with a separate feed. Designed to serve as delay screens in the auditorium, café and kids’ spaces, A2T 75-inch displays were also specified.

Mt Albert Baptist quickly realised the value of having a team that could be a single point of contact for all aspects of the solution throughout the project’s entirety. Auckland-based SI Halogen Audio’s long-established and extensive experience within

house of worship and events spaces offered the ideal package, including requested training and support.

Fulfilling their client’s request for ROI, Halogen Audio opted to work closely with distributor NAS Solutions whose numerous brands offered attractive warranty and support benefits and an international team that would assist in design support and commissioning.

Providing 110° x 40° point source coverage, the auditorium is now catered for by two d&b audiotechnik Yi10P enclosures flown as a stereo pair. Located on either side of the stage, a pair of compact d&b audiotechnik 18S subwoofers

extend the low frequencies down to 37Hz (15dB), while a pair of ceiling-fixed d&b audiotechnik 8S cabinets serve as delays. The audio outputs together with the wired and wireless microphone inputs are routed to a Midas DL32 stagebox for mixing at FOH on a Midas M32 40-channel digital console.

Musicians can personally monitor their performances using Midas dual 48-channel mixer DP48s that receive their audio feeds from the M32 via a HUB4 unit.

A single d&b 30D amplifier powers the entire room’s speaker system. In addition to providing ample 4x1,000W into 4Ω power,

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PROJECTS fault connector. The DSP integrated within the 30D incorporates loudspeaker management, switchable filtering functions as well as userdefinable EQ and delay capabilities, including dual 16-band equalisers and up to 10s signal delay for application to each channel independently.

Connected to the Ethernet via the RJ45 port, audio parameters are simply configured over the d&b Remote network using the integrated web interface R1 software.

“The ability to host such large events and gatherings beyond the auditorium capacity was a key objective,” explains Mt Albert Baptist Church lead pastor, Steve Worsley.

“The community was amazed to see how we could, for example, stream a service to other parts of the venue and online, ensuring everyone could be involved in a service, show, funeral or wedding.”

Powered by a single inDESIGN BA4120 amplifier, 12 inDESIGN EZP-6020 6.5-inch pendant speakers provide even coverage within the café and lobby, while two iD-BGM6 speakers extend the audio to an outdoor deck area. A Klark Teknik DM8000 processor receives the feeds from the auditorium in addition to wireless handheld and lapel mics

about how it would be set up and who we need to source equipment from – we can just get on with it.

Working with Halogen Audio and NAS has enabled us to really make some sensible decisions about how the different spaces are used and allowing technology to be intuitive, cost-effective and future-proof.”

Worsley believes the upgraded system has brought invaluable improvements to Mt Alber t Baptist’s Sunday ser vice experience. “The ability for our community to engage in worship on a Sunday and not worr y about muddy audio or misfiring tech has proven well wor th the investment.

The solution is by far one of the best audio systems created in a church of our size that I know of.

We are extremely impressed and satisfied with the result.” Following the extensive refurbishment and upgrade of the 1910 church, Halogen has inter twined a golden spectral signature within the audio elements that they were commissioned for.

Discreet inDESIGN EZP-6020 pendants provide even coverage in the café and lobby and a Cloud BT-1 Bluetooth wall plate to connect local line inputs.

A pair of directional UHF antennas ensure that the Parallel Audio M2000 wireless mic system can be used anywhere in this zone.

In addition to being discreet, Halogen’s loudspeaker design in the café offers versatility. “The café has enabled us to even host services during holiday time when we wanted to host a more intimate setting,” furthers Worsley. “It’s so easy to plug in and go. We don’t have to think

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PROJECTS

Embracing technology in Thailand

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A failing analogue system has led Wat Na Pa Pong to NewTek and NDI solutions for its live broadcasting LOCATED NORTHEAST OF Bangkok, Wat Na Pa Pong is a Theravada Buddhist monastery in Pathum Thani Province, Warin Chamrap, Thailand. Leading Wat Na Pa Pong is the venerable Phra Ajarn Kukrit Sothipalo. As head of the Sangha, he strongly believes in learning, practising and proclaiming only from the words of the Buddha (also known as Buddhawajana). This principle is not an original idea but stems from the actual teaching that came from the Buddha himself when he told other monks to listen and learn only to the “discourses uttered by the Tathagata”, while at the same time not to listen to the “discourses uttered by the followers”.

People come to the temple from many cities, locally and globally, with followers from more than 30 countries. To better serve the growing interest in Buddhawajana, Wat Na Pa Pong has embraced modern technology in its strategies. It is listed on the www.buddha-net.com website which maps a growing

NDI | HX Capture for iOS allows a live screen capture from an iOS device network of Buddhists, both monks and laypersons, and frequently broadcasts via www.watnapp.com which allows followers to learn and practise Buddhawajana from the internet, no matter where they are.

In the past, Wat Na Pa Pong had used an analogue system with a video camera, switcher and capture card for streaming but had issues with image jitter during live broadcasts. The monastery also needed more HDMI channels.

To solve the problems it was experiencing, NewTek and NDI solutions were recommended to Wat Na Pa Pong by ICamplus Co Ltd, NewTek’s reseller in Thailand.

“This is a big change, transferring from analogue to digital,” says Wuttiwat Patthanajuthanun, managing director at ICamplus. “There were difficulties in the beginning, but we have received a lot of compliments after using it for a while. The system is extremely stable.”

Careful consideration went into the final decision on the technology the monastery wanted to upgrade. “When we do something about the Buddha, we choose the best thing. When we print a book, we only use the best paper,” adds Phra Kukrit. “These teachings will be passed down to people using advanced technology. We think NewTek has the best device with the best technology at this moment.”

For its daily livestreaming productions, Wat Na Pa Pong has chosen the NewTek TriCaster TC1 with a complement of NDI PTZ cameras. NDI is a video-over-IP standard that allows anyone to use real-time, ultra-low-latency video on existing gigabit networks. The monastery has also acquired NewTek Connect Spark devices that convert HDMI and SDI signals into NDI. This allows users to get more use out of their older HDMI and SDI devices while still using the network as the main routing hub of video signals. These systems were donated by a pupil of the temple.

“We chose NewTek for broadcasting the principle of Buddhajawana to the world,” continues Phra Kukrit. “The content is both easy and difficult.

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PROJECTS The audience must reflect because the true meaning of the Dharma is very profound. While the audience is watching, we don’t want the signal to be interrupted.”

As part of the new setup, the monastery is also using free-to-use NDI Tools downloadable from NDI.tv, including NDI Scan Converter, NDI Studio Monitor and NDI Virtual Input.

NDI Virtual Input enables users to send the screen output from the TriCaster to “Line Conference”. The HOW is using NDI | HX Capture for iOS, an app that allows a live screen capture from

an iOS device, in the monastery’s case an iPad, to be integrated into the multicamera production as an alternative source. Similarly, the NDI | HX camera app for iOS is also used to take the camera output of an iOS device and send it wirelessly over the network to be used as a live source.

Now, Wat Na Pa Pong is using 100% NDI with seven streaming destinations every day, including three Facebook feeds, three YouTube channels and one RTMP feed.

When Phra Kukrit travelled to Germany, he was able to remotely use Skype to feed the TriCaster back in Thailand and share the livestream in real time with less than 1s delay. “As far as I have used them, NewTek products are good quality. NewTek tools are also compatible with other devices such as mobile phones and tablets. I am not an expert in IT and gadgets, but I can connect to the NewTek system easily. Its design makes it very convenient to broadcast from anywhere, any time. I can give a sermon from anywhere in the world.

“This is a very useful device,” he concludes. “I suppose if other people try it, they will like it. If I have a chance, I will recommend it to others.”

The new system uses NewTek’s TriCaster TC1 with NDI PTZ cameras

www.newtek.com

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STAY CONNECTED

YOUR AUDIENCE, YOUR CONGREGATION, NEED YOU NOW MORE THAN EVER NewTek™ helps you connect and support your community so you can continue to deliver messages of hope, healing, and inspiration.

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NewTek products with NDI® and integrated Skype TX help you easily and cost-effectively set up your studio and begin live streaming your worship services online.

Visit newtek.com to learn more.

© 2020 NewTek, Inc. All rights reserved. NDI, TriCaster, 3Play, TalkShow, Video Toaster, LightWave 3D, and Broadcast Minds are registered trademarks of NewTek, Inc. MediaDS, Connect Spark, LiveGraphics, LightWave, and ProTek are trademarks and/or service marks of NewTek, Inc.

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PROJECTS

Unite180 moves with the times

Unite180’s Pretoria campus enlists the help of DWR Distribution to upgrade the quality of its online broadcasts ESTABLISHED IN 2013 BY PASTORS David and Chanelle Grobler, Unite180 has grown to include auditoriums in Pretoria, Brooklyn, Johannesburg, Potchefstroom and Stellenbosch. Its aim is to reach college and university students by creating uGroups, also known as cell groups. There are over 460 uGroups throughout South Africa and Namibia, Ireland and New Zealand, and Unite180 has a reputation for not only teaching young people about God’s word in these smaller care groups but also to raise up leaders and disciples who will make a difference to the lives of others.

During the Covid-19 lockdown in 2020, the church’s Pretoria campus decided to make a shift in how it would present its message to members, by placing an increased focus on the online experience. It quickly became the only method of reaching members for a Sunday service. The uGroup network could continue to provide help to families in need, emotional support and weekly fellowship, but Unite180’s Sunday services were quickly halted by stringent lockdown regulations.

Prior to the pandemic, the church’s technical teams would record their services, edit the footage during the week and upload at a later time to ensure high-quality audio and video could be preserved. But with all services now being viewed online, it was vital to not lose any quality

The L-Acoustics Kara system at the Pretoria campus when broadcasting live on the online platform. New equipment from DiGiCo and Waves has been instrumental in ensuring audio quality through the stream’s delivery. An L-Acoustics Kara system complements the current professional audio setup at the church.

The new Waves eMotion LV1 Mixer, with 64 stereo channels, is a digital software mixer based on SoundGrid technology which can be run on a PC or Mac. It’s been specifically purchased

by Unite180 to assist with the broadcast, and provides the operator with “pinpoint-precision” control over the audio by running plug-ins from the console itself. The church has benefited greatly from the multiple accessories the system provides.

Construction is currently running on brand-new HQ facilities that the church will move into during 2021 that will seat 2,000 people and have multiple meeting, conference, kids and Bible School facilities. The organisation had worked with local company DWR Distribution on the supply and integration of AV equipment several times previously, including deployment of the Kara loudspeaker system.

The DiGiCo SD12 console has been acquired to serve the church’s future needs as the FOH mixing desk in the new premises. Alongside a number of additional features, the new venue interface is reputed to offer easy adoption for the technical crew working on it. Its deployment has reportedly

enhanced the overall in-house PA quality as well as providing for online quality improvements.

Jaco Beukes from DWR Distribution, who assisted the church with its latest audio investment, also supplied a DMI-KLANG card. Unite180 is one of two churches in South Africa using KLANG. “The worship team all run on in-ears and for this reason opted for the DMIKLANG card, which allows the user to create an immersive monitor mix,” recalls Beukes. “Traditionally, monitors provided a level difference when panning from left to right, but that’s not actually how we hear things.”

The DMI-KLANG card provides ultra-low-latency KLANG immersive processing for up to 16 two-channel mixes, with 64 inputs at 48kHz or 96kHz. This allowed the worship team to create a 3D immersive experience that produces a more realistic feeling by simulating the exact placement of instruments onstage in the listener’s ears.

Unite180 has seen positive growth in both its membership and viewers through the online platform during lockdown. An unexpected benefit of the move online has been a new international audience, spread across the globe, that has been able to tune in and view all Unite180 services online. www.dwrdistribution.co.za www.unite180.com

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PROJECTS

Taking services to the people

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Mill Plain UMC reinvigorates its congregation through livestreaming with Magewell Ultra Stream

On

The livestreaming setup FOUNDED OVER A CENTURY AGO, Mill Plain United Methodist Church (UMC) in Vancouver, Washington, has a welcoming, intergenerational congregation of seniors, families and everyone in between. The church has a total membership of over 300 followers, with approximately 150 of them attending in-person worship services each week prior to the Covid-19 pandemic.

Like most churches with small physical spaces, the distancing restrictions necessitated by the pandemic had a massive impact on the HOW’s ability to host in-person services. While state-imposed gathering limitations would reduce attendance to fewer than 50 people, in practice the church’s small sanctuary could accommodate less than 25 worshippers while maintaining just under 2m distance between them.

Owning no video equipment other than an old projector and laptop used to display lyrics and graphics through

Media Shout software, the church needed to quickly find a way for the pastoral team to continue connecting with followers.

Mill Plain UMC started first with a livestreamed worship service from a single handheld smartphone via Facebook. In April 2020, volunteer Chris Bauman suggested that a pre-recorded, video-based approach would provide a better sense of familiarity and normality for followers.

Bauman took the lead on editing video and audio clips into prerecorded services on his personal Apple laptop.

“While pre-recorded video provided increased capability over our audioonly stream, producing each service was very time-consuming,” explains Bauman. “Initially, it took 40 hours per week to produce each service, and while we got the production time down, it still took a lot of time not only for the editor, but also for the parishioners and lay leaders recording and contributing messages

The PTZOptics camera records Pastor Sue Ostrom

and music. Editing the pre-recorded services also required a specialised skillset, limiting the number of volunteers who could help, while the huge file sizes made it difficult for more than one person to work on it each week.”

At the same time, there was a growing realisation that online video could play a key role for Mill Plain UMC even after the pandemic subsides. “With our pre-recorded video, we could already see that we were attracting viewers beyond our core membership,” adds Bauman.

“We also knew that there would be people who would not feel safe coming to church in person even after a vaccine is available, as well as people who already were unable to attend because they are homebound, travelling or working.”

The ministry team assembled a Future of Worship team, which met to decide on the future vision of the church. Alongside other updates such as online giving and a website

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PROJECTS overhaul, livestreaming was identified as beneficial not only during the pandemic but also for engaging and growing Mill Plain UMC’s congregation in the long term. As primary technology lead for the Future of Worship team, Bauman began researching livestreaming solutions.

Bauman notes that in comparison to editing a pre-recorded service, livestreaming has significantly reduced production time while allowing more participation from Mill Plain UMC’s volunteer base.

“Each service takes less than half the time to produce than it did with the pre-recorded approach,” he explains. “Livestreaming also doesn’t require as many specialised skills, which increases who can volunteer.

Whereas the editing was mostly one person, with livestreaming, we typically have four people – one running the sound board, one controlling the cameras and switcher, someone handling graphics on the laptop and someone acting as director. It has reduced our time investment while getting more people involved.”

Mill Plain UMC’s Ultra Stream encoder

One of two PTZOptics cameras When evaluating his options for video switching and encoding, the nature of the church’s volunteer base led Bauman to favour a hardwarebased approach. “While software production solutions are great, if you have an older population as part of your volunteer workforce, physical buttons are easier and more comfortable than using a mouse,” he explains. “We wanted a hardwarebased switcher, which in turn led us to a hardware-based encoder. Our systems integrator, Timato Systems, recommended Magewell’s Ultra Stream encoder for its simplicity, quality and affordability.”

“I have found that the Ultra Stream family provides the best all-around value for an integrated streaming encoder and recorder,” says Tim Adams, owner of Timato Systems.

“You can log in to control and configure via the app or any computer and browser on the same network.

Competitive products start at double the price and don’t really provide any significant advantage in encoding or recording quality.”

The solution supplied to Mill Plain UMC by Timato Systems starts with two PTZOptics 20x SDI PTZ cameras, controlled by a PTZOptics Gen 3 IP joystick. “The price point and quality of the PTZOptics cameras was very hard to beat, and they offered resources for educating churches about streaming,” declares Bauman.

KanexPro HD-SDI to HDMI converters transform the SDI outputs from the PTZOptics cameras into HDMI signals, which are brought into a Roland V-8HD eight-channel HDMI switcher. A new Windows 10 laptop runs updated ProPresenter 7 software with two discreet outputs to the switcher – one for full-screen slides and imagery, and another for lowerthird graphics to be overlaid atop the video. The programme output of the switcher runs into the Magewell Ultra Stream HDMI encoder, with the Ultra Stream’s loop-through output feeding a 24-inch TV as a confidence monitor.

Live video encoded by the Ultra Stream unit is streamed to the Vimeo platform, which in turn delivers the streams to viewers through Mill Plain UMC’s website, Facebook Live and YouTube Live. While Vimeo automatically archives the livestreams for on-demand viewing, Bauman uses Ultra Stream’s built-in recording capabilities to create a locally saved backup in case there are any issues with Vimeo or the church’s internet connectivity. “I really like that Ultra Stream does both livestreaming and recording, and that it has enough internal storage to capture 5–6 full worship services,” he says.

While Ultra Stream also offers on-unit buttons and a smartphone app, operators typically start and stop livestreaming and recording through its browser-based web interface on the same laptop they use for ProPresenter. Bauman lauds how easy the Ultra Stream interface makes it not only for volunteer users, but also for his role as the de facto director of the production. “When you log into the web interface, you see a preview of the video signal, and two

The Ultra Stream web UI large software buttons – green for streaming and red for recording,” he explains. “It makes it very easy for me to direct people – I can just tell them ‘click the big green button’.”

The results have not only helped the HOW keep its congregation connected in a familiar way, but also expand its reach while easing the time and effort burden on individual volunteers. “It’s been an eye-opener for us,” describes Bauman. “We have seen people as far away as Wisconsin and New York become regular attendees online. It shows that we have an audience beyond those who would normally set foot in our sanctuary. Streaming our services helps those that are here, it helps those that want to be here and it helps those that aren’t anywhere close to us.”

While Covid-19 was the turning point that drove Mill Plain UMC to start livestreaming, what they have learned will continue to deliver lasting benefits, even once the pandemic subsides. “Streaming has reinvigorated our congregation,” concludes Bauman. “We have seen how well it brings people back into our fold who were members but could not attend for many reasons. We’re meeting people where they’re at – whether they’re on vacation, they live in another state, shut-ins or at home because of Covid restrictions – we can be there. It was good for us as a church initiative, and the Magewell Ultra Stream has been an important part of that.” www.magewell.com www.ptzoptics.com

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PROJECTS

The livestreaming setup

One of the Datavideo PTZ cameras

Stepping up to streaming All Saints Church, with its 14th-century Gothic architecture, has brought its streaming capabilities into the 21st century RECENT EVENTS HAVE FORCED SO many churches, not just in the UK but around the world, to reconsider how they deliver services to their congregations sheltering at home. All Saints Church, Middleton Cheney, one of a group of eight churches to the east of Banbury in Northamptonshire, is one such example. When the first lockdown hit the UK in March 2020, Reverend Nick Leggett began streaming services using basic equipment such as an iPhone and Facebook from his home.

However, it became clear that a more professional solution would honour the church ministry and there was a need to invest in better equipment. As such, the HOW turned to River Audio and its director, Howard Williams.

“I was introduced to the church by someone who had used our company before and attended the church,” explains Williams. “They came to me for suggestions and introduced me to their churchwarden Mike Wilks, a retired IT consultant who has worked with audio and lighting for many years in previous churches. He joined All Saints when he moved to the area and is passionate about learning more and using new technologies.

“When I went to visit him at the church, it was apparent he needed PTZ cameras as the church doesn’t have any technical volunteers to operate roaming cameras and there was a limit to the budget. After exploring different options, we agreed firstly on the ATEM Mini Pro, then on the camera’s specifications and then the cabling. The

church’s audio system was still working well so this purchase was all about the streaming equipment.”

In normal times, All Saints hosts Holy Communion twice a month on the 2nd and 4th Sundays and a midweek Communion, with more informal services on the other two Sundays. The 100-capacity, Grade 1 listed building dates from about 1300 and is famous for its 19th-century features, such as a collection of stained-glass windows by artists Edward Burne-Jones and William Morris and two painted ceilings designed by William Morris.

Williams supplied All Saints with two Datavideo PTC140 PTZ cameras, one Blackmagic Design ATEM Mini Pro and a Kramer HDMI splitter. “Being a listed building made it difficult to permanently fix anything to the interior of the church, so we opted for custom clamping brackets that fit around the

pillars and hold a shelf in place that is used for the cameras. PTZ cameras were the obvious choice as they could be remotely controlled to swivel around various areas of the church and then zoom in, enabling more natural livestreaming to take place. One of the cameras is connected via a 25m SDI cable which is then converted to HDMI before being sent to the switcher.

As the second camera was nearer to the switcher, we were able to use a 15m active HDMI cable to link directly to the switcher. We also used a 25m active HDMI cable to link from a laptop running PowerPoint for the service slides and song lyrics to connect to their video projector. This laptop feed was split with a Kramer HDMI splitter to also allow it to connect into the ATEM switcher so that the camera feeds, the lyrics and audio could all be streamed at once.”

The church installed the equipment but Williams provided training on how the systems worked. “They didn’t have any previous camera equipment,” he explains, “but they have integrated the audio from their sound system into the ATEM Mini Pro and have also integrated their laptop running PowerPoint and OBS streaming software.”

One of the problems encountered during the initial setup was that the audio wasn’t balanced. To overcome the problem, a separate DI box was used. “With the ATEM Mini Pro, the audio input is meant for a stereo mic or line using a mini-jack,” describes Williams. “This is fine for short cable runs but, if you want to connect a mono balanced input, it can cause issues with the sound and this is overcome by converting the balanced signal back to a stereo unbalanced as it connects into the switcher.

“The new setup will now be used for all services but also offered for weddings, funerals or just presentations that the church can livestream or simply just record. The system has enabled All Saints to keep in touch with its parishioners and attract new ones who wouldn’t normally attend.”

Wilks adds: “The ATEM Mini Pro was really easy to learn and intuitive and has already produced excellent results.

We are considering options to add additional cameras and a digital audio mixer in the future.” www.blackmagicdesign.com www.riveraudio.co.uk

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KnowHOW

Managing remote operations Gordon Moore considers the importance of communication among tech team members who may be set up in different locations THE PANDEMIC HAS CREATED A new environment for technical ministry leaders working with volunteers and/or paid staff who may be working from home. The challenge is coordinating and re-defining the workflow so people can effectively enhance the worship service, even if they cannot be there in person.

Communications and effective use of technology are the keys to working together, even when you are separated by space and time. It will still be several months before we see a return to normal and, for some people, the current situation is the new normal.

There may be some perfectly capable volunteers for whom a return to worship in person may no longer be an option. Health factors such as allergies to vaccinations, pre-existing conditions or commitments to the care of others who cannot attend may ground some of your best talent.

So, how do you keep them on the team, grounded in continuing worship and help them keep their purpose in technical ministries?

Identify functions that can be handled remotely A surprising number of technical worship functions can now be operated remotely over the internet.

The audio feed for the livestream is a perfect example. Many digital sound desks have the ability to have a virtual control surface via a PC or Mac. If you have a really good sound mixer who cannot return for live services in-house, it is certainly possible to set up a remote desktop for them at home and enlist them to run the audio mix for the livestream remotely via VPN. There is some latency involved but, for most control functions, the delay is minimal in the ears of the online audience.

Several churches I know have had issues handling the livestream mix which, by necessity, must have a different mix than the front of house mix used live in the church itself. This is not a task that should be assigned to the FOH mixer. They already have a critical job dealing with the mix for the amplified house environment. Asking them to handle the streamed mix

A temporary workstation at home audio as well can assure a poor job done for both in-house worshippers and those at home. A remote livestream mixer, operating from the safety of his/her home, will be better able to monitor, correct and mix what the livestream audience will hear than a sound mixer who is standing in the church itself, already dealing with a live service. This requires a dedicated PC with an internet link and a simple VPN access for the remote operator.

What about lighting? DMX-based lighting systems need programming and setup. Programming a lighting system can be a daunting task but only when you try to attack the project as a whole. Lighting control is programming – plain and simple.

Large-scale computer software projects are always broken down into sub-routines so that multiple programmers can concentrate on their particular part of the task.

DMX lighting control programs and sequences are no different. Examine your lighting projects and break them down into workable segments so the tech crew can handle it in manageable pieces, then separate them out so each can work on their section remotely.

For example, for our Easter week services, my church has put on a Living Last Supper on Maunday Thursday. Last year and this year, because of Covid restrictions, we will be unable to present all 12 disciples.

So, our new plan is to have four key disciples play their parts as a

featured part of the sermon. This will require the moving head spots to go to specific locations on the stage during the sermon to highlight each one as they explain their role at Passover. Rather than drop the programming task on a single individual who currently cannot come in to develop and run the program, we will split the program into several tasks. The remote programmer can create the profiles and sequences for the moving heads. Another person will get the coordinates for the light positions and send those to the homebound programmer. The programmer can then create the lighting script and email it back to the in-house operator for testing.

Allocate resources for remote-controlled functions You have identified those functions which can be done remotely. Now, assign those functions to your technical team. One of the great dangers right now for any church is the possibility of losing key people because they are not kept engaged with the technical ministries. In most churches, the technical crew does this work out of their love for the technology and their talents for it. That leads them into a ministry that not only appeals to their core skills but brings them closer in worship and engages them spiritually, strengthening their faith. Take away

their participation, you risk losing them.

So, assign these people to these tasks. You will need to develop a new workflow and successfully communicate this workflow to each person. The best way to develop that workflow is to have an online meeting with everyone and spend a few hours discussing your processes in detail. How is the order of worship communicated to the tech team?

What needs to be done for each action during the service? Who is responsible for those actions? There may be lighting cues to develop, presets (snapshots) to program into the audio mixers and setup operations.

A checklist for each service can be very helpful. It can be constructed in a spreadsheet or a Word document.

The workflow will be different for each church. At our church (which is small), it happens as follows: Monday – preliminary order of worship is developed by church staff (pastor and secretary). Music director notifies band and tech team of songs that will be played.

Tuesday – order of worship is distributed. Projection team begins creating screen content starting with song lyrics for Wednesday night rehearsal by praise band. Audio schedule is established. Lighting schedule is created and distributed to lighting crew.

Wednesday – praise band rehearsal, lyrics and songs for projections finalised during rehearsal. Lighting can test new scenes.

Thursday/Friday – final sermon slides from pastor and projections are finalised for Sunday. Lighting sequences are confirmed.

Sunday morning – 1.5 hours before service, audio crew arrives. System is activated. Microphones and IEMs are prepared (and sanitised). Lighting crew runs through lighting cues and tests all scenes. Projection crew tests any multimedia with sound operator.

One hour before service – video cameras are setup and media initialised. All lay microphones (pulpit, lectern, announcement) are tested and brought online. If we were streaming, the volunteers operating cameras are given specific instructions for the service and the

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KnowHOW remote audio operator will confirm a good signal. Praise band runs through all songs at least once with sound operator making final adjustments to the mix. Lighting follows the run through. The remote audio operator will adjust the streaming mix for audio (in our case, for the hearing assistance mix).

Seven minutes before service – cameras begin recording and audio recording is activated in the back. All are slated for synchronisation in post.

If we were streaming, we would start the livestreaming five minutes before the service begins.

After the service – systems are brought down, all microphones and IEMs sanitised, batteries removed and placed in chargers and all units are stowed. Covid protocols require that all praise band members simply place their mics in their stand and leave them for the sound crew to sanitise and stow. Before Covid, the band was responsible for doing this but we have found we have better sanitary control by asking them to simply place the mics onstage and walk away.

How do you keep all these people on task from remote locations?

Communication.

Online meetings allow face-to-face discussions which can give you visual cues into their level of interest, enthusiasm and participation.

Platforms such as Zoom or Microsoft Teams let you share documents and involve several people together. Give these meetings an element of fun – make them a dinner party. Everyone cooks at home and then you all get together and break bread virtually.

The meeting can still be held but the presence of food helps the fellowship and cooperation flow freely.

Phone calls are very effective at touching base to see how things are coming along and allow fast resolution to questions that may come up. They don’t need to take long and can be especially effective if you plan a time for the call. As the tech team leader, tell them when to expect a follow-up call. If they are expecting you to call at 7:30pm on Wednesday, you will often find they are better prepared than when you call spontaneously.

Text messages are great for fast answers and reminders. Generally, text messages are non-intrusive and should address issues that may not require an immediate response.

Last but not least is email. Email is a great medium for sharing data among many people. Files can be

LINC Church in Durban, South Africa, uses Zoom to keep in touch attached, instructions can be given in greater detail and many people can share responses at a time that is good for their schedule.

But remember that email is not a preferred or primary method of communication anymore. People have

become much more dependent on texting for immediate discussions.

Email has evolved into the modern equivalent of letter writing. Something to be sent, read and responded to but not necessarily immediately. I have found emails to be essential

for the greater context of a big project but not good when urgency is required.

If there is an urgent matter, calling is still the most effective attention-getter.

If you can’t get through, then text is the next avenue.

Finally, one of the most important aspects of good communication is a commitment to good communication. It does little good for you to have a team with many avenues of communication – text, email, Zoom or phone call – if you don’t have a commitment from each team member to respond. Teamwork done remotely can be highly effective if all members of the team buy into the benefits and necessity of remote operations to protect the health and safety of every participant. We are moving into a new world where both inperson, remote and online cooperation will find a blend that satisfies the requirements for technical excellence, even from remote locations, in a worship experience.

CONTROL FREAKS.

Revolutionar y control over ever y performance environment. This is Adamson’s legendar y sound, evolved for the networked future of professional audio.

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KnowHOW Image courtesy of Matthew Hogan

Overcoming adversity Casey Hawkins considers how closing churches for reasons such as bad weather has become so much easier following lessons learnt during the pandemic MANY IN THE WORLD OF WORSHIP AVL know that the year 2020 brought many challenges to churches who were forced to stop having services in person for several months. Many of those people learned how to stop having services with little warning.

Most never thought we would see the day that a virus would cause the widespread cancellation of church, and most of us never thought that weather would, either.

I was originally going to write this article about something else but the winter weather we have experienced changed my mind and has caused me to “turn on a dime”. In these ever-changing days of church media, I want to share my experiences and how I work through the challenges that my work presents me. My hope is that you can learn something from them.

Winter is not usually much of an event here in East Texas. Our normal lows do not drop much below freezing too often and we have many nice, mild days from November through March. Our cities are not equipped for snow and ice storms and folks here are not skilled at driving in wintery conditions. But this February has been a huge exception to the norm.

An arctic blast came from the north,

A studio shoot with the pastor during the snow storm

extending sub-freezing temperatures all the way into the Gulf of Mexico, a rare event that I heard a television meteorologist say recently only happens about every 10 years.

The forecast of freezing rain, sleet, ice and a significantly higher-thannormal accumulation of snow over the course of several days began to top the local news and our leadership team had some big decisions to make. Neither our pastor nor our worship pastor can recall a time in the past 30 years that has led this church to cancel Sunday services due to weather.

Probably because until last year,

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Recording Wednesday Evening Bible Study to an empty sanctuary

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KnowHOW they did not know that they could, much less how to close church and still have church.

It seems rather unforeseen that this rare weather event happens in 2021 when most are still wallowing in the aftermath of the 2020 virus pandemic. Most churches here in my area are still not 100% of their pre-pandemic, in-person attendance rate. But due to the all familiar “no-church” church, many regional churches opted once again to forego in-person worship for a week and instead return to online-only services and classes. It is an option not even considered available only a year ago but, now, we can make that decision and get all the wheels rolling on an all-digital Sunday with less than six hours’ notice.

The notifications to our church staff began at 9:00am that we would assemble a crew and worship team and hold an evening service at 6:00pm that day that would be open to the public. We would record the service and, afterwards, prepare the files for the livestream and broadcast at our normal times Sunday morning.

This allowed us to cancel all campus activities for Sunday morning due to the storm because it was unsafe for driving, walking and just getting around.

A Sunday livestream from home campus. While the pandemic closed Sunday worship for several months last year, our broadcast team was still able to be on campus to fire off the livestream and cable channel broadcasts that we had pre-recorded on Saturdays and during the previous week.

This weather event changed the “no-church” church a few more degrees than the pandemic had left it last year. Now we need to go live without being on campus where all the equipment is. It is not something

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Green Acres Baptist Church’s Wednesday Evening Bible Study livestream from home during the snow storm Ok – that sounds good – except for one major thing: who is going to trek the arctic tundra up to the church on Sunday morning to facilitate the livestream and cable channel broadcasts? The answer: no one.

The challenge: we did not design our livestream setup to accommodate “scheduled” livestreams, also called “looklives”, “simulated lives” or just “sim-lives”. Until this weekend, there was nothing stopping us from accommodating pre-recorded livestreams from the church

we have discussed in the past, but here it is – front and centre – and there was no time to dilly dally around with ideas. We needed to devise a solution that would present the least amount of conflict and potential flaws and failures and we had only a few hours to do so.

The decision was made that we would just simply automate the cable channel to air the service as an ontime event at 8:30am and again at 11:00am. That automatically feeds our Roku channel encoder, so the cable channel and Roku were an easy

solution. (For more information on our cable channel setup, see the article “Green Acres: broadcasting over horizons” in the January–February 2020 issue.)

But then, I was going to take the recorded Saturday evening service file home with me, and I would stream it Sunday morning from my house to the Livestream CDN and to Facebook. There were two main unknowns: was my internet connection stable enough to stream out for hours at a time and was my PC good enough to manage it?

After all, I am not set up and tested for professional streaming from my house so my internet could have flaws in it that only live outbound streaming can uncover, and my PC is over seven years old. It does what I need it to do for me personally, but it might not handle encoding live video very well. As a broadcast engineer and operator by trade, I do not like relying on systems and designs that have not yet been tested.

The best way I know how to prepare for an event where the systems are untested, and unknowns are potentially devastating, is to equip yourself the best you can and to look for alternatives in methods. So, I took my recently retired MacBook Pro home with me. This was the first computer we did livestreaming with when the pandemic hit last spring. So at least I had a computer that I knew could handle the workload. Secondly, we decided to manage the Facebook Live differently than we normally do.

This would reduce the effect of a problem should my home streaming solution not work out.

We did the Facebook Live as a Facebook Premiere. To the end user there is little difference other than the bug in the upper left that says “Premiere” instead of “Live”. The main difference is the “Premiere” is

using a video file that you previously upload to Facebook and the “Live” is of course a livestream you are sending to Facebook. You schedule the “Premiere” to happen at a certain time – in our case at 8:30am and 11:00am – our normal service and livestream times. Since we have about 3,000 people watch on Facebook and only about half that through livestream, this helps ensure that most of our viewers would be unaffected by my home issues, should I have any.

When I got home Saturday night, I tested all my systems and I concluded that the MacBook from work was a better option than my home PC, and the internet tested flawlessly. Both service streams happened without any issues. The viewers likely never knew anything was different today than any other Sunday, other than the fact that we did not try to hide that it was a recorded service, so they knew it was not live. But the experience was identical albeit completely different from a behind-the-scenes technical perspective.

Despite that I was not thinking these times would change again so quickly, the weather had given me a wake-up call. It appears the new normal and the new back-up plan for any reason is going to be media and broadcast, and now it appears as though it might not always originate from the church campus. We might also have to have alternative ways to achieve the same “normal” experience to the viewers.

As my pastor Dr David O Dykes said of the service: “During this year of Covid, we have learned to pivot, change, adjust; and it always was kind of hard before. Now, it is really easy to do. It used to take a mile to turn this battleship and now we can turn it on a dime.”

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Offline editing John Black has been working remotely and considers some of the offline console editors on the market DEPENDING ON WHERE YOU ARE in the world, chances are fairly good that you and your lighting team have been out of the booth or away from regular service lighting for a bit of time. If you are a volunteer lighting technician, or you lead a team of volunteers, how do you keep up their skills – and build new ones – while being away from the physical tools?

Thankfully, lighting manufacturers have been building offline versions of their console software for quite some time. Combined with CAD previsualisation applications, lighting programmers have been able to pre-program events for a while. Unfortunately, many of these CAD software packages can be quite expensive and getting them into the hands of volunteers in a house of worship setting may not be financially feasible.

More recently, however, console manufacturers have been building visualisers directly into their offline console editors, which provide visual representations of what the lights are doing while programming. Often accessible as free downloads from the manufacturer’s website, these offline editors can be indispensable tools for professional and volunteer lighting technicians, especially when working remotely.

Let’s take a look at some of the benefits you can take advantage of that can help your team maintain and learn new skills, as well as complete lighting programming tasks remotely both now and in the future.

A look at offline editors As previously mentioned, console manufacturers have been providing offline console editors for quite some time. These are computer applications that users can run on their personal computers to be able to learn programming techniques and syntax, as well as program entire show files without having to be sitting at the physical console. Usually provided free of charge, these applications run the same software as the console but do not enable any actual output to a lighting rig. Most manufacturers, however, also produce a licensing dongle that will unlock these output capabilities so that your computer can

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High End Systems’ Hog 4 PC software actually be used as a remote, backup, client or even primary console.

Some of the more popular consoles that you find in HOWs include those from Electronic Theater Controls, MA Lighting, High End Systems (now owned by ETC) and Vista (previously Jands but now owned by Chroma-Q).

The user interface of offline editors is often designed to look identical to the screens on the physical console, so this can be a valuable way to learn your way around the software of a console you may not be familiar with, as well as a way to learn more advanced programming techniques on your console, or even the programming syntax used on a different console that your facility may be looking to acquire in the future.

While dedicated CAD and previsualisation software can be expensive, such as Capture, Vectorworks Spotlight with the Vision module addition or Cast Software’s WYSIWYG, many lighting manufacturers have actually been building visualisation tools directly into their offline console editors.

This enables programmers to set up a virtual lighting rig in a 3D space and be able to see a virtual representation of what the console would be outputting.

The previsualisation offerings in console editors are quite scaled back from the CAD capabilities of dedicated software but, for more church lighting technicians, this software can be valuable for training and programming purposes.

If you have ETC consoles installed in your venue, you can download the ETCNomad offline software for EOS and Cobalt consoles, or the ColorSource Offline software if using a ColorSource console in a small venue.

If you have an EOS or Cobalt console, the offline editor includes the relatively new visualiser called Augment3d.

The software can be combined with a Vectorworks plug-in for importing highly detailed and complicated CAD drawings if you use that for designing stage layouts in your facility. Augment3d allows technicians to program lighting looks, cue sequences or entire shows without sitting at their physical console or with the actual lighting rig. While the ColorSource offline editor doesn’t feature Augment3d, the software

does provide useful information about the state of the lighting rig, just as it does on the physical console. These software applications are available for PC and Mac. If you have one of the MA Lighting grandMA consoles, you can download the grandMA onPC offline software depending on the console version that you have. Like the ETCNomad software, grandMA3 onPC features a 3D window in which technicians can see a virtual representation of the output of the rig. The grandMA onPC software is also available for PC and Mac computers.

For High End Systems console users, you can download the Hog 4 PC software, though this is only available on the Windows operating system. Unlike the software for ETC and MA Lighting consoles, the Hog 4 PC software does not include a built-in visualiser. Plug-ins are available for download to connect the output of the software to third-party visualiser software.

The Vista consoles have always been designed to provide the operator with a lot of visual feedback on the state of the lighting rig and take advantage of

Managing ETC’s EOS and Cobalt consoles from a laptop

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KnowHOW visualiser, then your volunteers will be able to see representations of their programming in real time.

Remote programming In many parts of the world, regulations exist that limit the number of people who can be physically present in a space at one time. This may also mean that it can be challenging to meet with your team in between services or gather your lighting team the way you normally would. The second most useful purpose for offline software editors that I find is for being able to program my shows away from the venue. Though this isn’t a new concept, it has increasingly become

Eos v3.2 includes the Augment3d visualiser touchscreens and more interactive workflows. Rather than channel tombstones as used with ETC consoles, spreadsheets used on High End Systems consoles or grids used on the grandMA systems, Vista sets out to digitise lighting magic sheets graphically in a manner that also provides real-time visual feedback to the operator about the state of the rig. The Vista platform, however, does not have a visualiser like that found in ETC’s Augment3d or the 3D window on grandMA onPC. All of these offline editors have options for connecting their output to third-party previsualisation software if you have that available, as well as outputting actual control data through unlocking the software via additional dongles.

If you have a console that includes visualisation capabilities, it could be useful for you to create a template show file that includes a patched lighting rig that you’ve also set up in the visualiser. You can then share that file through a cloud file sharing

Remote training

Integrated 3D window for visualisation on all grandMA3 consoles and the onPC software

One of the most useful purposes that I find with these offline software applications is for training purposes.

Because the software is identical to the software on the physical console, the only real difference for an operator is the physical control surface and button placement. This means that volunteers can download, for free, the offline editor onto their personal computer and practise common lighting programming tasks that I would ask them to do as a part of the lighting team.

service and your volunteer technicians can learn and practise programming tasks with the rig you’ve set up and actually see in the visualiser what their programming is outputting if they were connected to the rig.

Common tasks would include patching, channel/fixture manual control (depending on the term used by your console manufacturer), recording palettes for various control parameters and recording cues.

Again, if your console has a built-in

easier and less expensive to be able to program remotely using the builtin visualisers in the console editors themselves.

I like to use a cloud file sharing service with my team so that all of my team members have access to console files, media files and other event-related information. Anyone on the team is then able to open and work on preparing show files for upcoming events, as well as pull in programming from a previous event

that we want to reuse – all from the comforts of our homes.

Remote troubleshooting Finally, the third purpose for using offline console editors that I find really useful is for troubleshooting.

There are many times when I am not at the venue but receive calls for assistance from volunteers to look at programming that just isn’t working the way they were expecting. Most often, issues that arise are not related to the technology itself, but rather to a simple programming error made by the operator.

In these cases, the show files can quickly be shared using our file sharing service and I can pull up the show file from anywhere I’ve got my computer. I can look for and make any programming changes needed to correct the error if possible and then have the operator reload the show file on the console. This works well in a rehearsal situation. In a live situation, I will be onsite and be able to connect to the console as a client using the offline software and see what is actually happening on the console itself.

As you can see, offline editors can be valuable tools for lighting teams and volunteer technicians. These software packages are ideal for remote work situations but I also think they will have a place in the post-pandemic world as well. Any tool that provides the opportunity for someone to hone and learn programming skills, especially while seeing a virtual representation of the lighting rig, is invaluable and, for me, is a defining feature that I look for when making a console purchasing decision. If you haven’t explored offline console editors, I encourage you to head over to your console’s manufacture website and download it – once you work it into your workflows, you’ll wonder how you lived without it.

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TECHNOLOGY

MSolutions’ new GUI testing system

Network topologies and AV transmission

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With both HDBaseT and AV-over-IP here to stay, worship integrators must know the variances in each unique network infrastructure to properly test their AV installations, shares MSolutions’ CTO, Ariel Marcus

HD AV-OVER-IP HAS OPENED previously unseen freedoms in how worship integrators and technology managers deal with their AV operations.

AV-over-IP does not limit the customer theoretically to a fixed number of sources and destinations for connectivity. For example, an AV-over-IP switching and distribution system offers a more flexible and cost-efficient platform for adding new inputs and outputs. In comparison, a legacy matrix switcher limits the user to a fixed I/O count; if more are needed, it’s time to buy another box.

HDBaseT remains an ideal solution, especially when scalability is not a concern. Many integrators will buy “a size up” to leave some open connections for new sources and destinations. Think of your typical event space or small Sunday School classroom – in most cases, your matrix switcher will only need to connect to a handful of AV components and HDBaseT continues to be the preferred option in these types of environments.

The worship integrator is required to test, commission and, when needed, troubleshoot their installations on

behalf of their customers. While many contractors are still limited in their need (or desire) to install AV-over-IP systems, they will at least need to self-educate on the testing parameters. And even with AV-over-IP here to stay, HDBaseT still has plenty of miles in the tank.

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Straight line action HDBaseT represents the serial transmission of signals, whereas AVover-IP follows a more nonlinear path.

Unlike older analogue systems, AV-overIP transmission can be applied to a more IP-based network topology, such as a star network. This is very rare, however, as it requires an unusually large and expensive switch to manage the transmissions.

HDBaseT systems are therefore mostly deployed using a linear bus topology. A linear bus topology supports carriage of the video transmission from source to the first end node. The signal continues onto the second node, third node and onward in a straight line manner. Each device’s repeater board receives the signal, extracts the data and presents an image.

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TECHNOLOGY While advancing through these nodes, each destination or sink device, such as a display, extracts the data assigned to it. If there is a scaler in the display, the scaler receives the specific information it needs and presents the data. That data will then be displayed into a single or combined image. For example, the image might be standalone on a single display or combined into a continuous videowall image.

The integrity challenge with this topology is rooted in that first transmission phase. The first node will be unable to extract the correct image to present without perfect delivery. As that signal moves to the next node, the signal will further deteriorate if not perfectly extracted at the first node.

That deterioration will continue as the signal moves to each subsequent node. In an AV-over-IP environment, that deterioration might be partially attributed to latency – but not with HDBaseT, where latency is always below 10ms, and essentially not noticeable.

With latency removed from the mix,

the nonlinear nature of AV-over-IP distribution clears the way for varied topologies. Naturally, each is generally suited for systems of a certain scale.

Two of these topologies are most suited for worship environments.

On the lightest end of the spectrum, modest AV-over-IP deployments can cleanly operate in a single logical switch environment. While technically also a star network, these are simpler, lower-cost systems that can carry AV signals without bandwidth issues but are generally limited in scalability. And, if the switch goes down, so does the system.

Star networks represent the more common choice for AV-over-IP systems.

These systems bring the scalability and redundancy lacking in singleswitch configurations. A star network will typically comprise a core switch with a series of supporting switches, or access switches, that offer different traffic routes for AV signals.

The end result of receiving, extracting and presenting data to produce

s HDMI cables need to be tested for damage any signs of signal deterioration can be localised to the quality of the transmission. This is most often associated with the structural integrity of the cables, and the presence of enough overhead in the connection to carry the signal.

A quality HDBaseT test device can immediately confirm that HDBaseT terminations are exacting, with no differentiations between twisted pairs; a 300Mbps (4K UHD) overhead presence to support the carriage of highresolution signals over HDBaseT; HDMI cables are of high quality, and in perfect condition from source to destination (no missing wires, sharp bends, kinks or damage beneath the shielding); and activation of links to transmit AV signals through the cable.

In a linear bus topology, these simple confirmations will eliminate corruption of the extracted video from the HDBaseT system.

Nonlinear adjustments Whereas HDBaseT will nearly always follow the linear bus topology,

images is essentially the same as with HDBaseT. The destinations will generally always be a smart device, such as an SoC digital signage display or SmartTV. The key difference is the varied network paths of the star topology.

The network switches interconnect, with all active ports sending data over category cables. These signals move over the IP network, and that data can be sent separately to each receiving node. That means ensuring that all displays and other nodes are fully synchronised and that each port has a specific VLAN configuration to guarantee bandwidth.

Unlike HDBaseT, latency is a concern with AV-over-IP. If there is latency on one of the lines, the same image presented on different screens may be delayed on one or more screens. While AV-over-IP test and analysis software will troubleshoot latency problems, latency can be properly addressed in the initial switch configuration: confirm that all VLANs are configured correctly, and in accordance with IT department

pertinent multicast settings are correctly enabled; IGMP Snooping, including VLAN setup and fast-leave supports; and SNMP compatibility for network status queries.

This information will allow worship integrators to quickly confirm if network settings fit AV-over-IP performance requirements, and that the switch configuration can support smooth video streaming.

Common ground

Test results on a laptop policies if applicable; confirm that fast leave capabilities are enabled to synchronise all screens; and understand the concepts of multicast propagation delay and bandwidth capture.

Multicast transmits a single source over dedicated category cables to each display, and the propagation of the signal through the cables must be exact for each. With accurate signal propagation and switch configuration, the repeater board on each device will extract the proper data to create the required image at the same time, if the same image and resolution is to appear on every screen.

However, many AV systems will have different content, and perhaps different resolutions, for various screens. A star topology does not require that all screens be synchronised. If one display is presenting in full HD and another in 4K, the appropriate propagation delay (for latency) and bandwidth (for resolution) must be allocated on the switch for each port. Otherwise, a bottleneck forms with one image, while latency affects the other.

The job is not over for the integrator once the switch is properly configured and the appropriate measures of latency and bandwidth are added. The commissioning process will require AV-over-IP software to confirm all network and switch information and settings are accurate and certify that IP network conditions and connections are in good operating order.

Some of important parameters to confirm and certify include identification of network configuration faults; identification of network port status (open or blocked) and present network nodes; confirmation that

While HDBaseT and AV-over-IP follow two different network architectures, there are common issues that can affect performance. DC Resistance is one that can cause problems for signal transmission across linear and star topologies. DC Resistance represents the pure quality of twisted pair wires. In an optimal situation, the worship integrator will have a full copper implementation of twisted pairs inside the category cable.

However, these are not always optimal situations; often, the core of the wire is copper-coated steel or aluminium (CCS or CCA). The copper coating is created through a special electrolytic process, leading to high resistance and diminishing the quality of the cable. The high resistance of the twisted pairs will result in HDBaseT transmission failures, as the artefacts in the signal will degrade the quality of the signal from point-to-point.

The problems are exasperated when the transmission must also pass through the termination on the receiving end (where the HDMI is extracted) and each subsequent node. The DC resistance per 100m in cable length will continue to increase, and therefore reduce the quality of the signal, and the ability to transmit HDBaseT, on a linear topology.

The same concepts apply to DC Resistance and category cabling on an AV-over-IP star topology. IP networks are also sensitive to resistance within twisted pairs, and a high resistance can initiate retransmissions of the signal, leading to potential traffic fails and network roadblocks.

There is much more to explore on the actual testing processes of AV signals on HDBaseT and AV-over-IP, as well as the HDMI cables that live within both worlds. Understanding the differences of how these signals transmit over different topologies will provide installers with a better understanding of what to test for in the worship AV environment, and how to troubleshoot these issues by understanding how they correlate with the network architecture.

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TECHNOLOGY

Streaming success starts with the camera

Hitachi’s Z-HD5500

John J Humphrey, vice president, business development, Hitachi Kokusai Electric America Ltd, extols the virtues of broadcast cameras to improve the look of a livestream LIVESTREAMING WORSHIP services over the internet is far from entirely new to houses of worship, but has taken on a vastly new level of significance for them in recent months. Streaming was already a growing part of many churches’ initiatives to expand their ministries and connect with members unable to attend in person, but the Covid-19 pandemic and resulting restrictions on in-person gatherings have thrust online video delivery into the spotlight.

When choosing technical solutions for livestreaming, a lot of attention is focused on the streaming encoder and delivery platform, such as a CDN or social media channel – the last steps in the chain before the content reaches viewers. The cameras at the start of the chain are sometimes almost taken for granted but make a huge difference to both the quality of the results and operational considerations. Lower-end options ranging from smartphones and DSLRs to PTZ cameras and camcorders may seem attractive for their low cost, but broadcast-class cameras can significantly improve the look of your streams – as well as IMAG when congregants return to the sanctuary – and are more affordable than you might think.

All images courtesy of Noah Oehler at Eastview Christian Church

Compression vs video noise As most video professionals already know, compression algorithms are used to reduce massive amounts of digital video data down to bitrates that comfortably fit consumer internet and mobile bandwidth. For example, for livestreaming 1920x1080 HD video at 30fps, YouTube recommends a bitrate between 3.0Mb/s and 6.0Mb/s – more than 240:1 compression compared to the 1.485Gb/s of an uncompressed HD-SDI signal.

Fortunately, modern compression

algorithms such as H.264 can produce great-looking video at these bitrates, but achieving optimal results depends on the source signal the encoder receives.

A common misconception among those new to streaming is that if you’re creating a low-bitrate output for viewing on a relatively small device – as opposed to a large-screen TV – you can get away with using a lower-quality source signal. In fact, the opposite is generally true. Viewers are typically much closer to their smartphone, tablet or laptop than they are to their TV, making visual

imperfections noticeable despite the smaller screen size. And lower-quality sources tend to have visual artefacts such as video noise that make the live signal much harder for the compression algorithm to process.

At best, precious bits in the internet stream would be wasted representing the artefacts in addition to the actual content, thus lowering the quality of what you actually want viewers to see.

At worst, the motion-sensitive nature of today’s compression algorithms can exacerbate the visual disruption the artefacts cause. Video that looks fine on a monitor connected directly to a camera can look considerably worse once compressed for streaming.

Achieving low noise even in low light While some streaming encoders offer video noise reduction features, such digital processing inherently has a negative impact on the quality and fidelity of the video. The best approach, of course, is not to try to “remove” noise from the video – it’s to avoid video noise from the very beginning of the chain, right at the source. Shooting video in low lighting conditions, which are common in houses of worship, can make issues with video noise even worse. Increasing the video gain to capture dimly lit scenes can introduce considerably more noise into the image.

This is one of many areas where broadcast-class cameras excel. In addition to offering significantly higher signal-to-noise ratios than lower-end alternatives, broadcast cameras – particularly those with multiple, 2 ⁄3-inch image sensors – feature greater sensitivity that allows low-light environments to be captured with minimal or no gain adjustments, even when moving quickly between well-lit and shadowed areas. Of course, better low-light shooting is not just beneficial for streaming quality; it also provides a superior visual experience for your audience – both online and in-venue on IMAG – by letting them see more detail, even for subjects in darkened areas.

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TECHNOLOGY Avoiding artefacts and capturing the feel While video noise is one of the more common video acquisition challenges encountered by churches, other visual issues can be similarly disruptive to streaming compression.

When capturing scenes with large LED displays in the frame, temporal artefacts such as flickering, horizontal banding and extraneous lines can appear in the video with cameras that use rolling-shutter MOS or CMOS image sensors. Once again, these moving artefacts can wreak havoc with compression algorithms, resulting in lower streaming quality (as well as visible distractions for your viewers even on IMAG screens). Broadcast cameras with CCD or global-shutter CMOS image sensors, such as Hitachi’s Z-HD5000 or SK-HD1800, can capture these types of situations while avoiding or greatly reducing LED-induced artefacts.

The rich, dynamic and often colourful lighting used in many houses of worship does far more than just illuminate the pastor and other on-stage participants; it is a key factor in creating the immersive “feel” of the environment.

Representing those colours and dynamics accurately in video has long been a goal of church video crews for

their in-venue IMAG, but is even more important in conveying the tone for streamed services where the viewer is not physically in the worship space.

Once again, broadcast cameras can offer superior colour reproduction, as well as extensive controls that allow operators or technicians to precisely fine-tune the cameras’ colourimetry.

switcher. Combined with a remotecontrol unit, this enables functions such as iris and shading to be adjusted by a technician in the control room, increasing consistency between multiple cameras while freeing volunteer camera operators to concentrate on the actual shots. The availability of large

viewfinders makes it easy for operators to frame and focus their shots.

Broadcast cameras also offer communication paths between the control room and camera operator, including integrated intercom connectivity, return video and tally lights.

By leveraging SMPTE fibre connectivity between the camera and CCU, all of these functions plus programme video, audio and even power can be carried on a single cable – eliminating the need for cumbersome multi-cable bundles while supporting much longer cable runs than SDI or HDMI. And last, but certainly not least, broadcast cameras support an extensive range of industry-standard lenses, enabling customers to choose exactly the right options to suit their environment and needs.

Operational benefits The previous sections focus primarily on the quality benefits of broadcast cameras, but this class of camera also offers significant operational advantages. Unlike a self-contained camcorder, a broadcast camera system combines the camera itself with a separate camera control unit (CCU), which is typically located in the production control room near the

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WAVL Pg40-41 Tech VIDEO.indd 41

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TECHNOLOGY

A Chauvet LED system lights up Saint Hippolytus Church in Gelsenkirchen, Germany

Elation’s Fuze Pendants have transformed The First

Family

Image courtesy of Dennis Poser

The balance between cost and technology Elation’s Bob Mentele considers the steps to take to get the best return on your investment

An Elation upgrade at Passion Church in Casa Grande, Arizona WHEN IT COMES TO UPGRADING your facility’s space, there is typically a delicate balance between cost and integrating the latest technology. Usually, a lot of thought is given to the visible aspects of the space, and not much consideration is taken for the gear that makes it all work.

However, those systems have a direct impact on the quality of the presentation on the stage.

Sometimes the task seems

overwhelming and complicated. Yet, providing the best worship space for your congregation and guests, and staying on top of the return on your investments, is not that difficult, as long as your system is designed properly. If a system is designed well, you should be able to integrate new technology easily and without any drastic changes. Ultimately, if your system works, and you’re not having reliability issues, it can last for 10–20 years.

No matter what your system is like now, it’s always smar t to think about what you’ll need in the future, and what technology it may be able to handle in upcoming years, and even decades. In order to make sure your upgrades last as long as possible, always purchase quality gear and futureproof your space as much as possible. With any upgrade that involves anything as large and as complicated as a worship space, the biggest concern is safety.

Be sure to always have your system inspected by a licensed professional. This doesn’t just include your lighting, but rigging, audio and any other installed systems you may have should be inspected before making any changes. If ever ything in your system is safe to use, up to code and in full working order, you can make your first big decisions.

The first question you should ask is, “What can we af ford?” Once you have an idea of your working budget, you can begin to parse out upgrading oppor tunities. Figure out what you can tackle right away, as well as what steps you’ll have to take to get there.

Small budget (under US$25,000) If you don’t have a budget for upgrading your worship facility’s space(s), be sure to add saving to the top of your goals list. That way, when you have enough, you’ll be able to spend it wisely. One of the biggest mistakes you can make is moving forward with an upgrade to your lighting system without having a sufficient budget to do it properly.

If your space is under-designed, it won’t last very long, and will likely have to be fixed shortly after installation. This not only deprives your staff of the proper tools to provide quality work, but it can also be a waste of the funds you have available.

Think about your neighbouring facilities – are there any spaces around you upgrading their own systems? You may be able to purchase their second-hand equipment and give it more life in your facility. This is easiest with smaller items, such as lighting fixtures and soft goods, but you can repurpose almost anything.

Purchasing used gear from reputable resellers can also be a

42 WORSHIP AVL May–June 2021

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TECHNOLOGY

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undimmed powered through relay or constant current modules. LED fixtures also offer more flexibility in design options.

When thinking about switching to LEDs, part of the cost difference is the energy savings. It’s well known that LEDs consume less power, but they also don’t release as much heat as incandescents, so they also save money on your cooling bills. This is often harder to quantify in actual savings, but it should be taken into account. If you don’t have a system that can provide proper power for LEDs, you can always run dedicated circuits from power outlets to those devices.

Starting with a handful of LED PAR fixtures is generally an affordable way to start to integrate new items into your system, without too much

Family Church in Columbia, Tennessee great option while you save up for a bigger overhaul. Simply buying cheap equipment is not beneficial to your facility or the money your congregation gave you to make that purchase. Purchasing inexpensive equipment almost never pays off in the end as the system will be unreliable or the product you can produce with that equipment will be insufficient. Saving to buy higherquality products, whether new or used, always pays off in the end. Not only will the equipment quality be better, but the other aspect you pay for is product support. Reputable manufacturers that produce quality equipment want to make sure their products work well. They are happy to offer after-sales support, warranty service and, when an item is out of warranty, repair parts to allow you to extend the life of the equipment even longer. A little more money spent in the front end will save you money in the future as you will not have to repurchase equipment to replace items that no longer work.

Medium budget ($25,000–100,000) If you have a failing infrastructure – or antiquated gear you can’t get parts for – your money would be best spent upgrading those pieces.

The first major option is to simply upgrade your power control system to something functional. It’s not the cheapest option, but it can last for many years. Many spaces look into converting to LED when changes need to be made. Upgrading your entire system to handle this newer technology can often save you more money in the long run, versus only partially upgrading the system.

A full restoration at South Main Baptist Church in Houston includes Source Four fixtures from ETC Installation of a “hybrid” system, one that can handle both LED and incandescent fixtures, is typically more expensive than changing the entire system to LED. So, if it’s a matter of waiting a few years to do a proper overhaul, it’s probably worth doing so. If your infrastructure is decent, but ageing, you can usually integrate new technology into it.

That may include upgrading your incandescent lighting fixtures to a more current and efficient model.

Getting rid of 6x9s and 360Qs, and going with a more modern leko, can have a dramatic effect on the product you’re able to provide.

If your power infrastructure is fine, was updated within the last 10 years or so and you have a lot of new gear, think about adding some of the newest types of equipment. LEDs can be integrated easily if you have a dimming system that can provide

investment. You can get a good number of LED PAR fixtures for the cost of one decent moving light.

If you already have LED fixtures, the next step would be to look into moving lights. If you can afford to, this is a great place to spend extra money. An important thing to remember is that moving lights take a lot more maintenance time than any other fixture types, including LEDs. They will add substantially to any programming time, because someone will have to program every parameter of every light. While they are more time consuming to integrate into your space, the effect can also be pretty impressive.

Any time you’re looking into upgrading a system to begin using multi-parameter devices, like LEDs and moving lights, you need to make sure your control system will be able to handle it. Make sure you have

data distribution, Cat-5 or DMX from your lighting console to the fixtures’ locations. If it’s an existing system, and you don’t have the money to install wires, there are wireless DMX transmission tools available that have become very reliable and can create a large system with multiple universes of output. When thinking about upgrading, making sure your console can handle multi-parameter devices may have to be on the list before deciding on actual fixtures, as they will be unusable without it.

Large budget ($100,000+) If now is the time to upgrade multiple parts of your performance space, and you have an appropriate amount of funding to allocate to the lighting system, you now have more foundational and overarching options.

Take into account the feedback of the spaces’ staff and major users, desired technological integration and, of course, budget. Do you want to go all LED, or do you want to look into a hybrid system? Do you need to make any other major foundational upgrades to the system, or do you just need to fix the power control devices and upgrade the lighting fixtures?

No matter how much you have to spend on upgrades, it is extremely important to bring in an outside consultant or advisor to help you through the entire process.

Sometimes internal employees don’t (and can’t) know the best technology available at the time – simply because they don’t see it every day. Some integrators will offer this service for free, and there are also dedicated consultants that charge a fee. This cost is generally worth it because you’re going to be sure to have a better working and cohesive system in the end. Just don’t try to do it alone.

Whether your worship facility primarily hosts only worship services, concerts or a little bit of everything, you always want to make sure to present the best product possible.

Often, that starts with a good foundation and power system and extends all the way to individual stage and house lights. Upgrading your space is an important part of making sure you stay up to date with the latest technology and, by taking these considerations into account, you’ll set yourself up for worry-free use for years to come.

If you have any suggestions of topics you’d like Bob Mentele to cover, please email kwallace@proavl-asia.com

May–June 2021 WORSHIP AVL 43

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NEWPRODUCTS

PRODUCTS

AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING

A–ZCONTENTS

Quantum225

DiGiCo launches Quantum225 console

ADJ

Link/Element HEX IP Chrome

AJA

OG-12GM/OG-FiDO-TR-12G 54

57

Alcons Audio

CRMS-SRIW/120

46

Allen & Heath

SQ MADI card

50

Audix

TM2

51

Avolites

Diamond 9

56

Cameo

Flat Pro G2 series

56

Chauvet

Maverick Force 2 Profile

56

d&b audiotechnik

En-Snap

52

DiGiCo

Quantum225

44

GLP

Streamer

55

JBL Professional

AE Series FIR tunings

47

Kling & Freitag

SWR additions

47

KV2 Audio

D Series

50

LD Systems

IMA 60/IPA 412 T

48

Listen Technologies

Listen Everywhere private channels 53

LYNX Technik

RCT 1012

54

Magewell

Ultra Encode

54

Marshall Electronics CV730-NDI/CV630-NDI

55

Martin Audio

CDD series update

46

NewTek

Spark Plus IO 12G-SDI

53

Nexo

P15/L18

46

Outline

Vegas 4

48

PR Lighting

Aqua 380 Beam and BWS

57

QSC

AD-S5T

48

RCF

CD240-K/LF18N408

47

Renkus-Heinz

ICC 36/3-RN and 48/3-RN

48

Riedel

RSP-1216HL/Bolero 2.2

50

Roland

Verselab MV-1

51

Samson

Concert 288x

51

Sennheiser

MD 445

52

Symetrix

Symetrix In Control

52

Tascam

TM-70/TM-82

51

Telestream

Cloud Stream Monitor

55

Yamaha

Y7 reverb

52

DiGiCo has staged an online launch to unveil its Quantum2 console 25

DESIGNED TO adapt to changing market requirements, the Quantum225 can be specified with the new DQ-Rack with integrated Dante for AV installation and the demands of an AoIP networking environment, or alternatively with the MQ-Rack for MADI connectivity to existing touring infrastructures.

The Quantum225 includes 72 input channels with 36 busses plus a master bus and a 12x12 matrix.

There are four MADI ports and dual DMI ports for added connectivity, 8x8 analogue and four AES channels for local I/O, built-in UB MADI, optional optics plus dual PSU. The console also incorporates features from the existing Quantum Range, including Mustard Processing channel strips, Spice Rack plugin-style native FPGA processing options, Nodal Processing and True Solo. There is a 17-inch, full-colour, daylight bright, TFT multi-touch screen with the Quantum Dark application, seen before on the Quantum338, combined with 41 mini TFTs located across the surface.

The custom-designed, multipurpose mounting bracket attaches to the left-hand panel of the console. This can accommodate an additional channel or overview screen, a KLANG:kontroller or be further expanded to fit either a laptop or a script – particularly useful for theatre applications. The bracket can be installed at two angles with quick release.

The new, compact, 6U DQ and MQ racks have been designed from the ground up specifically for modern application demands. They feature 48 mic/line inputs, up to 24 analogue outputs or up to eight AES outputs. Users can reconfigure four of the analogue line outputs to be either analogue outputs or dual AES outputs. This I/O flexibility and other configuration changes are managed from the rack’s TFT Configuration

DQ-Rack screen. Standard features included Dual PSU and 48k or 96k operation.

The Quantum225 offers the option to add single or dual loops of Optocore. On each loop – which is 504 channels of audio – there can be up to 14 DiGiCo racks, or a combination of racks and tie-lines around the loop. With dual Optocore loops, that’s 1,008 Optocore channels of audio and 28 racks

running. In addition, the engine has a 48-channel UB MADI so users can connect any laptop via USB and get 48 channels of recording and playback. There is also an option to add Waves connectivity if users want to utilise SoundGrid processing, providing 64x64 additional I/O. www.digico.biz

44 WORSHIP AVL May–June 2021

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Let us help you transform your house of worship experience.

Email us today at HoW_design@elationlighting.com for a Free Consultation.

www.ElationLighting.com

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PRODUCTS

CRMS Series expands by slimming down ORIGINALLY DEVELOPED by Alcons Audio as a compact reference main/screen system or compact surround system in immersive sound-for-picture applications, the CRMS-SRIW/120 has been remodelled for use as a full-range audio system within installed audio applications. A new waveguide has allowed the Dutch innovator to minimise the cabinet depth to 100mm, allowing installation in typical 2x4 wall constructions while maintaining full projection control up to 20kHz.

By using identical mid/highfrequency components for the CRMSC-SRIW/120, consistent voicing matching is realised between the screen and surround system, reportedly resulting in a wide and uniform sound stage throughout the entire listening area. The two-way, passive-filtered CRMSC-SRIW/120 enclosure consists of the RBN202 pro-ribbon driver for the HF section and a vented 6.5-inch mid-bass for LF reproduction. The HF section has a 500W peak power input enabling a 1:16 dynamic range with up to 90%

less distortion from 1–20kHz. The 120° and 90° dispersions up to the highest frequencies offer a very wide and coherent direct-field coverage throughout the listening space, in addition to providing a consistent, reflected, diffuse-field response.

The LF section is tuned for a usable frequency response down to 53Hz, enabling a smooth transition with additional LFE subwoofer systems.

Signal Integrity Sensing (SIS) pre-wiring is said to ensure complete cable/ connector compensation between the CRMSC-SRIW/120 and the ALC amplified loudspeaker controller.

SIS significantly increases response accuracy, regardless of cable length and system impedance, courtesy of the dedicated drive engine and VHIR processing. Other features include a revolving RBN waveguide, optional cloth grille and ACO Architect Colour Option in 180+ RAL colour schemes for in-wall or on-wall mounting. www.alconsaudio.com

Nexo completes P+ Series NEXO HAS unveiled the P15 two-way passive/active speaker, promising a combination of heritage and contemporary design 25 years after the launch of its PS15 15-inch point source cabinet.

P15

The P15 completes the P+ Series which offers advantages of scalability, compatibility and performance to multiple market sectors. Designed for FOH and monitoring applications, the P15 15-inch coaxial loudspeaker can be used with or without the new L18 subwoofer. Offering modular directivity that can be changed by the user, it features hallmarks of the P+ Series point source category, as seen in the P8, P10 and P12 models launched in the last 15 months. The P15’s curvilinear enclosures of custom

birch and poplar plywood reportedly result in robust, lightweight cabinets.

Weighing 23kg and measuring 600mm x 483mm x 352mm, it delivers 139dB (passive) to 141dB (active) SPL from a purpose-designed, 15-inch neodymium magnet coaxial driver with a 3.5-inch voice coil.

Frequency response is 57Hz – 20kHz. The P15 can be reconfigured from passive to active mode, while horn flanges are interchangeable from the standard 60° x 60° to a 90° x 40° or an asymmetrical 50°–100° x 40°.

Large handles mounted on each side hold a 35mm pole mount for connection of mounting accessories.

The companion sub is the new L18 compact, horn-loaded model with a high-excursion 18-inch woofer. Built around a custom-made 15mm bent plywood shell, the L18 weighs in at 50kg. It is scalable and can be used

with the smaller P12 point source cabinet. The ability to fly one or two L18s above a P15 cabinet is said to offer a cost-effective alternative to a small line array configuration. The L18 matches the output power of the NXAMP4x2MK2 controller amplifier, with processing algorithms optimising the match between the L18 maximum excursion with the NXAMP4x2MK2 output voltage capacity, producing dynamic sound without triggering the thermal limit of the driver.

The NXAMP4x2MK2 also offers a dedicated minimum latency setup, compatible with the monitor setups on the P15.

The P15 and L18 are available in black and white structural paint finishes, and in Installation and Touring versions.

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Martin Audio reveals CDD update IN A drive to meet the growing needs of installation applications, Martin Audio has announced new additions and upgraded voicing for its CDD series, including both weatherised and marine editions to cater for all outdoor environments.

The manufacturer is further maximising the potential of the CDD series by increasing production capacity, including improved supplier sources. In addition, the normal UPM Formi cabinet construction of the 12- and 15-inch models has been changed to wooden enclosures.

Product lines have been extended to include 70V/100V transformer and weatherised variants of the

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8- and 10-inch models, enabling daisy-chaining of loudspeakers for increased amplifier efficiency in larger installation projects. Voicing across the series has also been updated to provide consistency across the family.

New DSP settings have been added across the range to reflect current voicing. These are available to complement any amplifier solution, although new FIR-based presets for iKON amplifiers and

DX4.0 controllers further enhance the audio performance qualities.

New CDD voicing settings are available to download from the manufacturer’s website. www.martin-audio.com

46 WORSHIP AVL May–June 2021

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PRODUCTS

K&F heads to the coast KLING & FREITAG has announced that SWR options are now available for the Gravis, K&F Nomos and Sequenza series. This feature reportedly ensures that the products are sea-weather resistant. Special types of materials are used and the enclosures and crossovers are given special protection. This is said to make the SWR speakers the ideal choice for HOWs in coastal locations.

With the K&F Spectra 212i, the manufacturer has expanded its existing Spectra 212 line with a new installation model. Created specifically for wall and ceiling mounting, accessories allow the fixture to be aligned to all listening planes, either singly or in a cluster. As with all the models in the Spectra series, the 212i

includes the VariQ unit to reportedly enable easy conversion from point to line source. It has been designed for integration within architecturally demanding environments or it can be placed more prominently. Offered in black and white, the 212i is available in all colours within the RAL palette on request.

K&F has also released a new firmware version for its VIDA Systems available on the manufacturer’s website. Besides some minor fixes, it contains Aux-Out presets for VIDA to match the company’s self-powered subwoofers and “take performance to an even higher level”. A new version of the VIDA app is also available.

Back to basics for RCF PRIOR TO the development of the Art loudspeaker series in 1995, RCF was renowned for its transducer developments. The Italian systems manufacturer continues to innovate and manufacture high-compression drivers and low-frequency woofers both for its own designs and as an OEM business. Two new designs have entered its catalogue.

www.kling-freitag.com

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The AM5212/64 from the AE Series JBL PROFESSIONAL has produced FIR tunings for its AE Series to optimise frequency response and phase response “to a finer degree of precision than traditionally possible with standard IIR, parameter-based filters”. According to the manufacturer, the result is enhanced sonic quality, more consistent coverage and improved arrayability. In addition, builtin LevelMax Limiter settings are said

to protect speakers from damage due to overpowering. To cover the broad spectrum of AE Series models in their various configuration modes (passive and/or biamplified), the release contains 70 individual tuning files for use with Crown DCI-N and DCI-DA power amplifiers. In addition to new installations, these tunings can also be retrofitted into existing AE Series systems.

In other news, JBL has announced the release of the EON ONE USB power cable, which is said to expand the versatility of EON ONE Compact battery-powered portable PAs by powering AKG WMS and DMS100 and DMS300 wireless systems and DigiTech and DOD guitar pedals directly from the sound system. The 1m cable features a USB-A terminal that connects to an EON ONE Compact PA and a 5.5mm power terminal that connects to external devices.

Two versions are available: a 12V version powers AKG WMS wireless systems, while a 9V version powers AKG DMS100 and DMS300 wireless systems as well as DigiTech and DOD effects pedals.

The CD240-K is a highperformance 1.5-inch diaphragm compression driver with a 1-inch exit throat featuring a singlepiece, low-compression, radial phase plug. Ideal for array applications, the diaphragm and suspension are precision formed from Polymide for high stability also at high working temperatures. Measuring 91mm in diameter, the compact CD240-K is rated at 50W (continuous) program power

distortion, low power compression and very high SPL output. The LF18N408 combines a fibreloaded cone assembly together with a large triple roll surround for added strength and control.

The single spider system is specifically designed with a heavy cloth to enhance control during large excursions.

A fully optimised T-pole together with double aluminium demodulating rings reduce flux modulations that benefit harmonic and intermodulation distortions while improving the transient response. The dual-forced, air-venting, magnetic structure system provides a very efficient voice coil ventilation to minimise power compression. Capable of producing a sensitivity rating of 97dB, the 3,000W-rated (continuous program) LF18N408 can extend the LF range to 25Hz (–10dB).

A new version of the RCF management software suite, RDNet, is now available for download. Version 4.0 updates

LF18N408 handling and operates within a frequency range of 1.5–20kHz. Other features of the 0.93kg driver include an optimised geometry radial phase plug, aluminium voice coil and ceramic magnet assembly.

Designed to provide accurate bass frequencies, the LF18N408 is an extended low-frequency 18-inch diameter woofer with a 4-inch voice coil offering high power handling with low

include a complete measurement suite, cloud storage and a new interface design. RDNet Measure is a four-input, dual-channel FFT audio analyser that can measure magnitude, phase, RTA, coherence and impulse response. Functions included spans from a delay finder, a multiple signal generator and an integrated SPL meter/logger with calibration tools. www.rcf.it

pro.harman.com

May–June 2021 WORSHIP AVL 47

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PRODUCTS

Outline heads 4 Vegas DESIGNED FOR contemporary installations offering price performance features, Outline has unveiled its smallest passive enclosure to date within the Vegas series. Like the larger models, the Vegas 4 is a point source model incorporating a unique single-driver design and new 4-inch transducer.

Weighing 1.6kg and measuring 120mm x 120mm x 126mm, multiple Vegas 4s can be deployed where highfidelity audio is required together with minimum visual footprint.

Providing axisymmetric 60° dispersion and operating within a frequency range of 110Hz – 18kHz (±10dB), the Italian manufacturer recommends deployment of the SUB 110 compact

subwoofer for full-range applications.

Outline’s latest L3000 DSP-equipped miniature power amplifier can drive and process up to 16 Vegas 4s or eight Vegas 4s and two SUB 110s.

Each Vegas 4 is shipped with a specially designed bracket for mounting on surfaces and regular microphone stands. The IP55-rated cabinet is available in black, white or any one of over 200 RAL colours to match an interior designer’s décor. www.outline.it

QSC expands AcousticDesign Series WITH THE introduction the AD-S5T, QSC has extended the AcousticDesign Series of installed speakers. Designed for a variety of foreground and background sound reinforcement applications, the twoway, surface-mount loudspeaker comprises a 5.25-inch weathertreated woofer and 1-inch silk dome tweeter. Available in black (RAL9011) or white (RAL9010), the IP54-rated ABS polymer enclosure can be aimed and installed at a

variety of angles with no slippage courtesy of the integrated X-Mount system. Directivity Matched Transition (DMT) reportedly ensures a uniform frequency response between 60Hz – 20kHz (–10dB) over the 115° coverage area. Advanced voicing filter sets using QSC Intrinsic Correction are available through the Q-Sys and CXD amplifier platform. www.qsc.com

Iconyx gets longer, but no less compact RENKUS-HEINZ HAS extended the length of its Iconyx Compact series with two additional models, the Iconyx Compact 36/3-RN and the 48/3-RN. The ICC 36/3 is a 3m-long column array, while the ICC 48/3 measures 4m in length. Both retain the series’ original compact footprint and architecturally friendly attributes.

The new additions also complete the Compact Series, which was introduced to provide additional solutions for integrators in highly problematic acoustic spaces.

Both the ICC 36/3 and ICC 48/3, which offer 36 and 48 channels respectively, are constructed with fullrange, high-sensitivity treated paper cone drivers and feature an amplifier and DSP channel for each driver. The new products also offer full RHAON II beam-steering with the latest URGO beam algorithms, a movable acoustic centre, multiple beam opening angles and high-pass filtering of individual beams. The included wall-mount brackets aid mounting while staying nearly invisible behind the arrays.

Standard RN units have analogue and AES inputs.

Featuring a low profile suitable for a multitude of applications, the S Series Subwoofer line has been extended with the introduction of the SA28/SX28. Designed to provide low-frequency response below 45Hz in conjunction with Renkus-Heinz’s fullrange loudspeakers, the dual 8-inch model is available in both passive (SX28) and powered (SA28) versions.

Multiple units can be arranged to create cardioid, end-fire and steered low-frequency arrays. Finished in black or white and housed in a painted plywood cabinet incorporating 16 M10 universal mounting points, the SX/SA28 can also be flown using M10 eyebolts. Recessed handles and a top-mounted pole adapter

ICC 36/3-RN

ICC 48/3-RN

enhance portability, while integrated rear cable channels promote discreet installations. The SA1250 amplifier matches the power needs of the SA28. Controlled via a PC loaded with RHAON II, the SA1250 integrates DSP, including eight fully parametric EQ filters, high- and low-shelf and high- and low-pass filters, plus up to 358ms of delay. The SA28-RD1 and SA128-RD add Dante digital signal distribution capability, including AES67 compatibility and network redundancy. www.renkus-heinz.com

LD Systems expands portfolio LD SYSTEMS has extended both the IMA and IPA amplifier series.

Joining the IMA 30 (30W @ 4Ω), the IMA 60 (60W @ 4Ω) mixing amplifier incorporates a wide range of input and output options, including Bluetooth connectivity and a multi-stage priority circuit. Housed within a 9.5-inch chassis, both IMA models offer four priority levels for emergency calls, microphone/line inputs, connected music sources and an optional automatic standby mode.

IMA 30 Incorporating transformers for each channel, a 100V/70V tap and a low-impedance output up to 4Ω, a new series of DSP-based power

amplifiers is available in the form of the IPA 412 T (120W) and IPA 424 T (240W) four-channel models. An expansion card slot allows the IPA

amplifiers and their DSP parameters to be controlled remotely via Dante (AoIP). Operating as a conventional amplifier, the DSP section includes a parametric EQ, compressor, matrix mixer and delay with an ability to select prioritised sources. The IPA series can be operated with remote control units and paging microphones by using a controller area network-based remote bus (in/out). www.ld-systems.com

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THE DEFINITIVE CONSTANT CURVATURE ARRAY

Optimised consistency, coverage and control thanks to two angled cabinets, a Dynamic Horn Flare™ and DISPLAY 3. A phase plug mounted in front of the 12” driver increases mid-band sensitivity, vocal clarity and projection, and with three 1.4” HF drivers the sonic performance is not compromised even when driven at higher SPL.

martin-audio.com

UNITING YOUR AUDIENCE FOR 50 YEARS

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PRODUCTS

KV2 launches D Series amps GLOBALLY RECOGNISED for its analogue engineering, KV2 has developed a range of D Series amplifiers featuring on-board control and diagnostics. Five new amplifiers – the ESR 3000D, ESR 2800D, ESP 2000D, SL3000D and VHD 3 – incorporate a range of topologies, including a ClassAB design for enhanced highfrequency response, a unique high-current switching topology on low frequencies and hand-wound toroidal transformers that reportedly ensure consistent power delivery.

In terms of control, the D Series amplifiers offer the option to set up gains, operate mutes, configure the limiters, or select filter, EQ and bridge modes depending on the model. Supporting the increasing need of monitored loudspeaker

systems in public spaces, the diagnostics section provides information on the temperature of heatsinks, mains voltage, real-time health checking and the output levels relative to limiting. Made in the Czech Republic, the amplifiers may be set up individually or in groups using the new KV2 Control & Diagnostics software tool, including saving and recalling presets or show files. Configuration and monitoring are accessible via the front panel or remotely via any Windows or macOS device.

“Finally, our users can now benefit from control without compromise as well as real-time monitoring and system diagnostics – elements that are vital when running large systems,” commented KV2 Audio founder, George Krampera Sr. “Our

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customers no longer have to rely on third-party solutions which inevitably affect the sound. By embracing digital technology for control where it is suited, but maintaining the fastest, highest-quality analogue electronics for the audio path where

it is needed, we have developed a revolutionary hybrid solution that offers user-friendly operation while maintaining the integrity of audiophile reproduction.”

www.kv2audio.com

Riedel adds SmartPanel to 1200 Series

RSP-1216HL

RIEDEL HAS introduced a new 1U SmartPanel in the 1200 Series of intelligent intercom and control interface panels for real-time audio, video, data and communications networks. Equipped with a single speaker and 16 hybrid-lever keys, the compact RSP-1216HL features the same full-colour, high-resolution touchscreen as the 2U RSP-1232HL model. A unique hybrid-lever key design combines both lever- and

rotary-style key styles for controlling parameters with a single key. The fully IP-centric panel incorporates the same connectivity options as its bigger app-based counterpart, with support for AES3 and SMPTE 2110-30 (AES67) connections together with GPIO, analogue or AES67 four-wire, in addition to front and rear USB. The software-defined architecture of the 1200 Series SmartPanels is

said to ensure longevity in pro AV environments. With a Control Panel App and Audio Monitoring App currently in development, the 1200 Series SmartPanels are ideal for applications where space is at a premium.

The manufacturer has also updated its Bolero wireless intercom system. With a new DECT Region Japan (JDECT) setting, Bolero 2.2 supports up to 100 antennas and 60 beltpacks (over six DECT bands) in a non-interfered environment.

Improved PHS detection reportedly helps to prevent interference from mobile phone signals which

share a frequency spectrum with the JDECT band. The 2.2 release also features new RF monitoring capabilities that allow users to leverage both antennas and beltpacks to scan or monitor the radio spectrum used by DECT devices. Built into antennas, a radio scanner enables period measurement of time-slot usage and identification of DECT systems in the RF space, in turn serving as an additional capacity monitor while making it easier to diagnose radio issues and plan for system expansion. Up to five Bolero beltpacks in a network space can be set to periodically monitor the radio spectrum at their locations while still operating normally. www.riedel.net

Allen & Heath extends SQ series HAVING FIRMLY established itself as a pro streaming and AV production system during 2020, the SQ range of consoles has been expanded with the addition of a new SQ MADI card.

Joining the existing Dante, SLink and Waves option cards, the 64x64 channel MADI inter face is said to unlock a host of new possibilities for high-channel count feeds over coaxial cables.

The SQ MADI card in the back of an SQ-6

SQ MADI runs at either 48kHz or 96kHz, while two BNC inputs pair with two BNC outputs to allow for split or redundant setups. A sync can be created from inputs or a separate BNC Wordclock dual function (in/ out) for enabling the console to be operated as either master or slave in the system. www.allen-heath.com

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PRODUCTS

Roland composes a production Audix engineers an Integrated Acoustic Coupler for IEMs

DESIGNED FOR modern music creators, Roland has introduced its Verselab MV-1 Song Production Studio. It allows composers to create professional multi-track songs with vocal recording, 16 velocity-sensitive pads and Roland’s 16-step TR-REC rhythm sequencer. Verselab’s on-board ZEN-Core sound engine provides a vast library of instrument and rhythm sounds to choose

from, while future integration with Roland’s Zenbeats music creation app will allow users to enhance their workflows with a computer or mobile device.

Verselab provides templates, pattern generators and a guided workflow that moves through the process of making tracks. Users can record vocals via the built-in mic or an external XLR mic and add an array of contemporary effects, from auto-pitch to harmonisers.

The ZEN-Core engine delivers a selection of classic Roland instruments and a wide range of curated sounds. The TR-REC sequencer and 4x4 pads are said to provide a direct, hands-on interface that’s been designed for building drum tracks, bass lines and melodies. Verselab also includes a collection of pro mixing and mastering effects to create tracks that are ready for distribution. www.roland.com

The concert goes on SAMSON’S NEW Concert 288x is a dual-channel UHF wireless microphone system that combines professionalgrade audio with ease of use, making it suited to live performance and house of worship applications, or anywhere two wireless handled mics are required.

To facilitate simple setup, a one-touch scan function automatically selects the clearest operating frequency for the performance space, while IR sync wirelessly pairs the transmitter and receiver frequency. An RF Diversity design ensures wireless reception, while tone-key and auto-mute prevent undesired noise and interference when a transmitter is off or out of range.

The CR288x fits two RF receivers into a single half-rack chassis. The receiver provides two balanced XLR outputs, one for each channel, and an unbalanced ¼-inch mixed output that combines the signal from both channels into a single output jack. This is useful for when more microphones are needed and there are not enough inputs on a mixer. An included rackmount kit allows one or two CR288x receivers to be installed in a portable rack for gigs or in a permanent structure for large and small venues.

The Concert 288x Handheld features two CH88 handheld transmitters equipped with Samson’s Q8x dynamic microphone capsules and a supercardioid pickup pattern for when more gain before feedback is required as well as good off-axis rejection.

US MANUFACTURER Audix is shipping the TM2 Integrated Acoustic Coupler for in-ear monitors (IEMs).

Designed as measurement devices, the ear simulator couplers are used

by IEM manufacturers during the R&D, final production and quality control stages.

The TM2 incorporates the functionality of lab-type testing equipment into an integrated compact package for live sound and studio engineers who want an effective way to test IEM performance. Comprising precision-machined brass and aluminium components, the TM2 includes adapters to fit a wide range of IEMs, including custom moulds.

“We saw a need for a tool that didn’t really exist and, instead of waiting for one to come along, we just built it,” commented Audix director of US sales, Steve Young.

Live monitor engineers and HOW technicians previously had no reliably consistent method to test the functionality of IEMs. With the TM2 and readily available measurement software including Rational Acoustic’s Smaart or Studio Six Digital’s Audio Tools, engineers can confirm the functionality of each performer’s IEMs before the show. www.audixusa.com

Tascam goes live DEVELOPED FOR live broadcasting, podcasting and audio streaming, the TM-70 dynamic microphone from Tascam combines supercardioid and dynamic elements and is reportedly resistant to ambient noise. With a frequency response of 30Hz – 20kHz, the TM-70 was specifically engineered to capture

rumble, a 1.8m cable and a tabletop mic stand.

Featuring a unidirectional cardioid design, the TM-82 has been developed for recording and performance applications.

It has a frequency response of 50Hz – 20kHz and is said to capture the character and nuances of

The TM-70 with accessories www.samsontech.com

what it is pointed at, isolating sound sources such as directional dialogue. The mic’s super-cardioid directivity is said to enable users to achieve a clean, clear audio signal that results in “first-class speech intelligibility”. Accessories include a shockmount to reduce low-frequency

performances without introducing room sound into the mix. Suitable for both vocals and instruments, the mic comes with a holder that is compatible with all standard microphone stands. www.tascam.com

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Sennheiser accepts the challenge Y7 reverb added for Rivage THE LATEST vocal microphone from Sennheiser, the MD 445, has been designed for operation in challenging environments, such as loud stage settings. The model is a large diaphragm dynamic microphone with tight super-cardioid polar pattern to provide isolation from other onstage sound sources together with a high level of feedback resistance.

According to the German manufacturer, the acoustics of the MD 445 have been tailored to modern stage setups with B stages and runways in front of the PA. At the core of the acoustic design is a newly developed voice coil made of lightweight aluminium-copper. It is said to offer a fast transient response and a very detailed, nuanced and transparent sound that is complemented by rich midrange and bass. The sound is described as acoustically close, intimate and open, irrespective of how loud the instrument soundscape may be. The dynamic range is 146dB(A) and the microphone can handle sound pressure levels of up to 163dB/1kHz. The unit is housed inside a rugged enclosure meant for life on the road. It features a metal casing and has a shockmounted capsule to protect it from structure-borne noise. A hum compensating coil protects the microphone against electromagnetic interference. The capsule is also available with an MM 445 microphone head for use with Sennheiser wireless transmitters. www.sennheiser.com

YAMAHA HAS teamed up with Bricasti Design on the creation of a premium reverb for Rivage PM Series digital mixing consoles. As a manufacturer of hand-crafted, hardware digital reverbs, Bricasti is

High-quality reverb is one of the most important tools to achieve this and we are confident that the Y7 will become a key part of the creative expression for many sound engineers.”

The CL5 digital mixing console best known for its M7 rackmount reverb unit. The new Y7 reverb, available as part of the V4.7 firmware, is said to bring the highest level of expressiveness to Rivage PM users.

“All Yamaha mixers are built on the philosophy of allowing engineers to capture the onstage sound accurately, without colouration,” explained Yamaha group manager, PA marketing and sales group, Motome Tanaka. “Plug-ins play a vital role in allowing engineers to take this transparent sound and apply their artistry to the mix.

Alongside the release of the Y7, the manufacturer has released firmware version 5.6 for its CL and QL digital mixers series, which introduces support for Neutrik’s NA2-IO-DPRO Dante interface, a small I/O solution that reportedly adds more flexibility in a network setup for line, mic and AES signals.

Additionally, support is now offered for NEXO’s NXAMP4x4MK2 and Yamaha’s PC Series controls, allowing for more flexible system construction.

timecode for up to two DS100s simultaneously. The software is described as an important creative

tool for projects of any size.

www.yamahaproaudio.com

Soundscape snaps into place D&B AUDIOTECHNIK has partnered with Gareth Owen Sound on the launch of En-Snap, cue automation software that aids in the creation of immersive mixes in Soundscape. The German manufacturer has been working with the renowned sound designer and his team to bring the En-Snap tool free of charge to registered Soundscape users.

En-Snap enables cue-based control within the d&b Soundscape environment. The software tool

connects directly to the d&b DS100 Signal Engine and, with a single click, stores the parameter values of all 64 sound objects and any En-Space room emulation setting as an En-Snap cue. User-specified transition time and recall safe functions in every cue reportedly ensure seamless user options for scenes and applications. En-Snap sound cues can be manually operated as well as integrated into automated production workflows, by cue recall, via OSC and MIDI

www.dbaudio.com

Symetrix In Control FOLLOWING THE release of the T-5 glass touchscreen remote and the W Series IP, the addition of Lua Scripting in Symetrix Composer 8.0 software now completes the Symetrix In Control Solution. The high-resolution T-5 touchscreen provides access to custom SymVue control screens specifically created for a system in

either a desktop or wall-mounted configuration. Custom Intelligent Modules for Symetrix Composer 8.0 can be created in Lua scripting for tasks ranging from muting a fire alarm system to changing camera positions based on detected audio levels.

ARC-WEB is a virtual user interface that can be used to control presets

for volume, mute and source selection on a smartphone, tablet or PC as a standalone primary control system or as an addition to other Symetrix control hardware. The web-based event scheduler is a free addition to the Control Server, allowing access to events and scheduled presets by time and day, providing a way to automate

routing, source selection and volume for daily changes, special events or other automated configuration changes. The scheduler is accessible from the Control Server using any web browser on a connected smartphone, tablet or PC. www.symetrix.co

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Listen Everywhere gets confidential AS PART of a firmware upgrade to Listen Everywhere, Listen Technologies has launched a private channels feature so that venues can create confidential, password-protected audio channels on their networks.

Listen Everywhere private channels have been designed for situations where confidentiality may be necessary.

Administrators can select any or all channels on their networks to mark private, and generate passwords directly from their smartphones through the new administrator section of the mobile app. Passwords can be communicated to the intended recipients in any manner that meets a venue’s security protocol and needs,

for example email, text, website or signage in the room. When listeners want to stream a channel that is designated as private, they are prompted for a password and must enter the correct password to hear the audio on their own iOS and Android devices.

Additional features include a new app administrator section on the mobile app that allows for password management by venue managers and administrators.

This is compatible with iOS and Android devices.

The private channels feature is also flexible so administrators can set up channels as public, private or any combination.

NewTek adds a bright Spark WITH THE creation of the Spark Plus IO 12G-SDI converter, NewTek aims to enhance resolution, frame rates and colour fidelity in media workflows.

By converting 12G-SDI UHD video into an IP-based media production workflow, the Spark Plus IO 12G-SDI encodes and decodes 12G-SDI sources to and from IP-friendly NDI at up to 2160p ultra-HD. The IO Converter connects to 12G-SDI cameras or devices, converts the video signal to NDI and shares it with any compatible system, device or application anywhere on the network, including UHD screens, monitors, projectors or videowalls.

It can also turn any legacy 12G-SDI-enabled output device such as a screen or monitor into an NDI signal on the network by using the decode functionality. A webbased interface provides remote configuration and monitoring in addition to support via NDI with an option to mount onto cameras.

The manufacturer has also announced the release of ProTek, a tiered support programme that allows customers to choose between four levels of coverage, including Basic, Standard, High and Ultra. Each tier incorporates support elements under Warranty, Software Maintenance, Technical Support and Extended Services. www.newtek.com

Spark Plus IO 12G-SDI www.listentech.com

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AJA releases two 12G-SDI solutions

OG-12GM “AS DEMAND for high raster 4K/Ultra HD content increases, convenient 12G-SDI solutions are critical to simplifying cabling and transport of high bandwidth content,” said Nick Rashby, president of AJA Video Systems. As a result, the manufacturer has added two 12G-SDI openGear products to its lineup: the OG-12GM and OG-FiDO-TR-12G. Both are designed for use in high-density openGear 2U

frames and compatible with Ross DashBoard software for flexible device control and monitoring.

The OG-12GM is an openGearcompatible SDI transport converter that supports single-link 12G-SDI to/ from quad-link 3G-SDI, two Sample Interleave (2SI) to/from Square Division (Quadrant) pixel mapping and selectable Distribution Amplifier (1x4). It provides detailed timing analysis for validating alignment of

quad-link SDI inputs via a timing analyser that helps to identify possible timing issues for quad-link signals. The converter also features openGear’s high-density architecture and DashBoard support on Windows, macOS or Linux for monitoring and control over a local network or remotely.

The OG-FiDO-TR-12G is said to offer flexibility and cost-efficiency for 12G-SDI to fibre conversion and fibre to 12G-SDI conversion with single-link LC connectivity, enabling long cable runs up to 10km for single mode. It is compatible with all certified openGear products and supports Ross DashBoard software for remote control and monitoring over a PC or local network to help simplify production workflows.

In other news, AJA has introduced Ki Pro Go v3.0 firmware, providing

T expanded recording options for its multichannel H.264 recorder and player with new networkbased recording and support for SMB protocols via GigE network connectivity. V3.0 enables any channel to be recorded directly to network attached storage (NAS) via Ki Pro Go’s integrated GigE port, providing a central storage location for primary or backup recording channels independent of local USB storage. For live event workflows, NAS can be used as secure backup or archival storage, while local USB drives can be handed off to customers following shoots.

Multiple Ki Pro Go devices can connect to the same centralised NAS storage to increase system flexibility. www.aja.com

LYNX Technik creates rack controller for yellobrik Series

Ultra Encode family extends universal appeal

DESIGNED TO ease the process of controlling, configuring and updating the yellobrik line of throw-down bricks, LYNX Technik has introduced the Rack Controller to its catalogue of modular signal processing interfaces. The RCT 1012 is a “first-of-its-kind” module allowing a facility to combine the control tasks for up to 12 yellobriks housed in a yellobrik rack. Bypassing the need to update, configure and set parameters of individual yellobrik modules, the RCT 1012 provides a bulk update method by using a single slot as part of a yellobrik

FOR APPLICATIONS ranging from livestreaming and remote contribution to IP-based production and AVover-IP, Magewell has introduced the Ultra Encode family of universal live media encoders. The flexible encoding hardware solution supports multiple encoding formats, including H.264, H.265 and NDI HX, together with a wide array of delivery protocols. Providing a balance between broader viewing device compatibility and higher-quality/ bitrate efficiency, Ultra Encode features H.264 and H.265 (HEVC) video compression for livestreaming delivery.

The new encoder also supports a wide range of streaming protocols, including RTMP, RTMPS, RTSP, RTP, HLS and SRT (Secure Reliable Transport).

Configurable presets enable streaming to YouTube Live, Facebook Live, Twitch or custom targets with select protocols allowing simultaneous streaming to multiple destinations using independent encoding parameters for each stream. Combinations such as H.265 compression and the SRT protocol provide a secure delivery of livestreams.

For IP production workflows and AV-over-IP signal distribution architectures, Ultra Encode supports second-generation NDI | HX, the lower-bitrate mode in NewTek’s NDI

rack system. Once the yellobrik rack controller is installed in a yellobrik rack, it automatically detects the USB-connected yellobrik modules and displays them in the APPolo software.

The yellobriks can be visualised and controlled over the IP network via the rack controller’s Ethernet port connection. The RCT 1012 also detects status information on primary and redundant power supplies when installed in a yellobrik rack frame (model: RFR 1000-1). www.lynx-technik.com

IP media transport technology. The bandwidth-friendliness of NDI | HX enables it to be transmitted wirelessly over Ultra Encode’s integrated Wi-Fi support, maximising flexibility in onsite production and monitoring workflows.

Ultra Encode units can be combined with Magewell’s multi-format Pro Convert decoders for end-to-end, live media transport in either NDI | HX or streaming formats. The Ultra Encode HDMI and Ultra Encode SDI models offer a choice of HDMI 1.4a or 3G-SDI input and loop-through interfaces.

Both models can encode and stream content up to 1080p60 at bitrates up to 16Mbps, although the Ultra Encode HDMI also accepts 4K HDMI inputs, down-converting them automatically to HD. Embedded audio is complemented by analogue, line-level audio input and output connections. In addition to Wi-Fi, the encoder offers an RJ45 Gigabit Ethernet port for wired networking. www.magewell.com

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TELESTREAM HAS announced a strategic collaboration with Skyline Communications which will integrate Telestream’s cloudbased video monitoring solutions with Skyline’s DataMiner network management, orchestration and operations suppor t solution. With this initiative, the two companies have integrated the new Telestream Cloud Stream Monitor ser vice to

reach as the OTT monitoring ser vice across multiple public cloud providers.

Telestream has also announced that its Cloud Stream Monitor and Wirecast streaming solutions have achieved “SRT Plugged” status by successfully completing interoperability testing at the SRT InterOp Plugfest. The event is held annually for developers to test

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Marshall adds 4K PTZ models TWO NDI 4K PTZ camera models have been added to Marshall Electronics’ lineup: the CV730-NDI and CV630-NDI. The CV730-NDI features 4K60 over simultaneous 12G-SDI, HDMI 2.0 and NDI | HX with up to 3840x2160p UHD resolution at 60fps. The CV630-NDI features up to 3840x2160p UHD resolution at 30fps with 3G-SDI, HDMI and NDI | HX. Both models contain an extended 30x optical zoom range wrapped around a high-performing Sony broadcast sensor – the CV730

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CV730-NDI

Telestream looks to the cloud

provide flexibility for validating and troubleshooting live as well as ondemand video streaming ser vices across the globe. The ser vice can deploy transpor t stream monitoring, leveraging Telestream IQ QoS and QoE solutions. This allows video providers to deploy monitoring for SRT or Zixi feeds, either as contribution streams to the cloud or across the global cloud backbones for global transit of transpor t streams as a satellite replacement or augmentation strategy. The transpor t stream monitoring has the same global

interoperability and compatibility between different technologies and vendors using the SRT protocol.

Stream Monitor now enables users to monitor live video quality from streams transported via SRT. Tests confirmed interoperability with over 20 different SRT-enabled devices from a variety of market-leading encoding and content delivery systems. The latest Wirecast release was used as a live video contribution source via the SRT protocol. www.telestream.net

Meanwhile, the ML-454 Quad 4.5-inch rack monitor features four high-resolution screens in only two rack units. It supports a range of inputs, including HDMI, 3G-SDI and composite.

Both SDI and composite inputs have active loop-through with independent tallies and controls on each screen.

The monitor also features front-panel access to functions, such as aspect ratio, marker and backlight level. The ML-454’s four 1280x800 pixel LCD screens are mounted in a tilting design that reportedly allows users to achieve

ML-454 starts at a 65° angle-of-view and the CV630 starts at a 70° angleof-view all the way out to 200mm, allowing operators to pull long shots closer with an extended zoom range.

The cameras boast a flexible 340° horizontal pan range with 120° vertical tilt, giving them a wide range of movement when capturing highquality UHD or HD video.

the best viewing angle even at the top of a tall rack. An adjustable backlight accommodates indoor or outdoor applications. The monitor is ideal for a range of remote applications such as houses of worship or any other type of production that has a variety of sources. www.marshall-usa.com

GLP adds streaming solution BROUGHT ABOUT as the result of the coronavirus pandemic and social lockdowns, GLP has designed Streamer, a small and versatile light source for hosts and interviewees that plugs directly into a standard USB-C socket on any computer. The light is UL-listed and includes a flicker-free, high-intensity output with a colour temperature range of 1,900–5,600K provided by three different colour sets of LEDs. A range of in-built colour temperature presets can be accessed directly from the on-board buttons.

These presets can also be modified by the user within the desktop app, available on both Mac and PC.

Streamer has an aluminium outer shell and is easy to transport in its compact case and moulded foam

interior. The control app provides full management over the output level and colour, allowing the user

to create their perfect balance. But it’s Streamer’s full remotecontrol capability that GLP believes provides the real bonus, according to product manager, William Irwin. “If Streamer needs to be operated from a remote location, full control can be achieved with instantaneous response. Thanks to

the browser-based app, Streamer can be controlled from computers, smartphones and tablets, giving a lighting designer full control over the device.”

Streamer has been designed for any video conferencing needs, along with vloggers, remote broadcast and also for still photography. The Streamer Deluxe Control Kit comes complete with mounting accessories, including an extendable tripod, a 12-inch gooseneck extension for hard-to-reach places, a suction cup and a USB-C to USB-C cable. www.glp.de

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Chauvet unleashes a new force

Cameo shines bright outdoors THE FLAT Pro G2 series has been designed to expand Cameo’s range of IP65-certified LED outdoor PAR spotlights. The units can be used to uplight a building façade, as a noiseless light source in a HOW or theatre, or an effect light for live shows. Benefits include improved convection cooling, a selectable PWM (650Hz – 25kHz) for flicker-free camera images and a revised housing design with integrated carrying handle. The new series incorporates the Flat Pro 7 G2 (seven 10W RGBWA, 2,400 lumens), Flat Pro 12 G2 (12 10W RGBWA, 4,300 lumens) and Flat Pro 18 G2 (18 10W RGBWA, 6,600 lumens).

The lights cover the entire RGBWA colour spectrum and are said to enable even more flexible colour blends for warm, rich saturated and pastel colours. According to the manufacturer, the adjustable PWM frequency means that lighting technicians no longer have to worry about flickering LEDs during dimming. In addition, the integrated

LED calibration chip reportedly ensures that saturated and pastel colours from the RGBWA colour spectrum are implemented in combination with several Flat Pro G2s without deviations. The units also incorporate the manufacturer’s patented EZChase feature (DMX delay), which can be used to create running lights without external control.

In terms of design, the handle has been integrated into the compact metal housing, and an OLED display with touch-sensitive buttons has been added for “quick and easy operation” on the device. Features also include revised convection cooling and professional connection options with Neutrik True-compatible inputs and outputs, as well as three-pin IP65 DMX sockets. The units can be optionally retrofitted with a fold-out 16mm TV spigot based on patented Cameo SPIN16 technology. www.cameolight.com

ADDRESSING THE demand for compact but powerful fixtures, Chauvet has released its Maverick Force 2 Profile and Force 1 Spot. Weighing under 27.2kg, the Maverick Force 2 Profile is powered by a 580W LED engine that produces a 21,000-lumen output. Lighter than its companion, the Force 1 Spot weighs 22.7kg and features a 470W LED engine capable of producing 20,000 lumens of brightness.

Both fixtures produce an array of hues from brilliant reds to soft pastels with CMY+CTO colour mixing and an added colour wheel with CTB and CRI filters for design flexibility.

Chauvet believes that lightweight fixtures make load-in times faster and more efficient. They also translate directly into faster movement and speedier effects for designers and programmers.

Maverick Force 2 Profile features a quick four-blade framing shutter system with 120° rotation for precise control, a 7–55° zoom to cover a wide range of areas and 16-bit dimming for smoother fades. Added versatility is provided by its five-facet prism with frost, motorised iris, two rotating gobo wheels and animation wheel.

Maverick Force 1 Spot’s effect wheelhouse has one rotating and static gobo wheel instead.

Both fixtures feature Pulse Width Modulation and several TV fan modes. A variety of advanced control options are offered with DMX, WDMX, sACN, Art-Net, preset synch and RDM capability for remote accessing.

Maverick Force 1 Spot

www.chauvetprofessional.com

Avolites unveils Diamond 9 flagship console

DESCRIBED BY the British manufacturer as the result of decades of innovation from the Avolites team, the Diamond 9 is available in two versions – the D9-330 and D9-215. The main front panel of the Diamond 9 has been machined from a single sheet of aluminium to create a distinctive look. Operationally, the D9-330 boasts 11 ultra-bright touchscreens, including three main workspace

screens, three for media preview and specific screens for attribute control and softkey shortcuts. The three main workspace screens provide adjustable brightness up to 1,000 nits and prioritise the accessibility of data, visualisation and creative programming tools. The three 4.3-inch preview screens have been developed to ensure that the main screens remain uncluttered for maximum information density.

A macro/executer screen has been added for electronic labelling without occupying main screen space; a dedicated T-bar screen comes with a permanent Scene Master status; a dedicated level wheel screen gives users instant live intensity data, no matter the selected attribute group; a vertical editor screen is located in the programming panel to simplify control of complex fixtures and media servers, and shows the main cue list

status in a new display; and a softkey menu screen frees up workspace and unifies the layout of all the main screens.

The motorised, touch-sensitive Penny & Giles faders and optical high-resolution rotary encoders each have their own RGB bar graphs so levels can be monitored at a glance.

Users can define fader and encoder level indicator colours to make it easier to group and quickly recognise controls. There’s also a return of the backlit integrated keyboard. Carefully selected Cherry MX low-profile keys with RGB illumination are said to provide optimal tactility with low fatigue for programming sessions.

On the right-hand side, users will find five encoder wheels, a T-bar for controlling scene masters and a new set of bespoke buttons carefully positioned so they’re easy to find.

The T-bar is said to deliver more refined control with even smoother manual fades and is paired with

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PRODUCTS

ADJ creates a Link DESIGNED TO fill the void between small, single universe DMX controllers and large-format lighting consoles, the Link is a hardware/software system that combines the processing power, wireless connectivity and multi-touch screen of an iPad with lighting-specific tactile controls and a four-universe DMX interface. It has been created to simplify control for lighting designers and is powered by the free Airstream Link iOS app for iPad. The platform includes an extensive fixture library and incorporates tools

to allow the easy creation of complex movements and colour chase effects.

It allows the iPad’s memory to be used for storing custom Scenes and Shows that can be quickly reloaded when required. The software also makes use of the iPad’s precise touchscreen interface to facilitate actions, such as colour mixing and drawing custom movement shapes.

The Link hardware offers a selection of ergonomic controls designed to give lighting designers the hands-on experience of a traditional lighting console.

Four large rotary encoder wheels,

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with push-in selection provide control over functions such as movement, zoom and focus. Alongside these are eight 100mm channel/submaster faders together with an additional master fader with dedicated blackout button. Each fader is also paired with a dedicated rotary control, with push-in selection, as well as two-page playback buttons. A matrix of 32 buttons provides access to specific scenes, fixtures or effects, while page scroll buttons – together with a two-digit backlit LCD display – help users keep track of a large quantity of scenes. Dedicated buttons provide quick access to each of the app’s main screens and an additional set of buttons provide shortcut control of key app functions.

The lighting manufacturer has also added a chrome version of its Element HEXIP outdoor-rated wireless up-lighting fixture. The model has been created for applications where, instead of blending into the background, lighting fixtures are required to make a bold statement. The Element HEXIP Chrome is powered by four 10W HEX (RGBWA+UV) LEDs, which generate a consistent colour wash with a 20° beam angle. The 6-in-1 LEDs allow for the creation of a

Element HEXIP Chrome large palette of colours ranging from vivid saturates to subtle pastels. For DMX control, the unit features a builtin WiFLY EXR receiver which allows wireless control from a distance of up 760m. The fixture also features an internal rechargeable lithium ion battery which, according to the manufacturer, can be fully charged in just 4.5 hours and is capable of running continuously for up to 16 hours between charges. An IEC power inlet for charging, as well as an on/off switch, are positioned below the menu display and a USB port is included for future firmware updates. www.adj.com

PR Lighting adds to Aqua family the manufacturer’s Scene Master functionality, which is complemented by a double-width Commit button and four further control buttons, plus a dedicated LCD screen for continuous status data. The dedicated master cue list control section comes with two motorised faders, eight control buttons and a double-width Go button.

However, Avolites is keen to point out that the key differentiators go far beyond the aesthetics. The console builds on the manufacturer’s Synergy feature set, released in October 2019, that allows integration between media server and lighting control. The D9 is said to bring this to users’ fingertips with an “intuitive design” and layouts ideal for media playback and control. The console also supports Avolites’ new logo, described as the first significant change since the company’s inception in 1976.

THE AQUA 380 Beam is a 380W moving beam that features a Philips Platinum 300S Flex lamp, 7,800K, an advanced optical system, an IP66 rating and a tight 2° beam for outdoor searchlight and aerial effects. It comes with one colour wheel, 12 dichroic colour filters plus CTO and a rainbow effect with bidirectional and variable speeds. The fixed gobo wheel incorporates 16 gobos and the rotating gobo wheel is made up of 12 interchangeable gobos.

Other features include three prisms, frost, a motorised linear focus and 540° pan and 240° tilt head movement with auto position correction.

The Aqua 380 BWS is a waterproof IP66 moving head that integrates three features (beam, wash and spot) in a single unit and a Philips Platinum

300S Flex lamp. It comes with a CMY linear colour mixing system with macros. The colour wheel provides 12 dichroic colour filters plus CTO and the same rainbow effect as the Aqua 380 Beam.

The fixed gobo wheel comes with 11 gobos and an animation effect, while the rotating gobo wheel incorporates 12 interchangeable gobos.

The unit also provides three prisms, frost and bidirectional rotation with variable speeds, and comes with optional threefacet, 16-facet and gradient prisms.

Both units include adjustable pan and tilt speed, an LCD display screen, fixture and lamp usage time display and a DMX512 wireless receiver and transmitter.

Aqua 380 Beam

www.pr-lighting.com

www.avolites.com

May–June 2021 WORSHIP AVL 57

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THE TECH VIEW

Spreading the Gospel far and wide New Creation Church (NCC) relies on a highly technical team comprising full-time production technicians in addition to volunteers. Audio team leader Isaac Eng provides an insight New Creation Church’s Isaac Eng

FOH at the Star Performing Arts Centre FOUNDED IN 1984, NCC HAS grown from about 150 to an average Sunday attendance of 33,000 in recent years. Led by senior pastor Joseph Prince, the church has been conducting its charismatic Sunday services at the 5,142-seat Star Performing Arts Centre since 2012.

“NCC is my home church where I have volunteered as part of the worship team for many years,” says Eng. “In my sales roles at Jünger Audio Asia and Coda from 2008, I learnt a lot about broadcasting and pro audio. In 2015, one of the church leaders called me requiring some consultation and technological recommendations. As I was at a personal crossroads in my career at that time, I decided to take a leap of faith and joined the full-time team at NCC. “Despite having some experience, my initial approach was to keep an open mind and ask questions as I had done when working with the Meyer Sound and Jünger Audio engineers. I had the best education in both these roles by meeting professionals and observing other technicians. Being the new guy, it’s important to win people over by sincerely building

over the internet until the onset of the pandemic. “With the implementation of the Circuit Breaker measures, all churches had to go online and that is where NCC currently remains.

However, we have discovered that we are reaching more worshippers online with our streamed services, welcoming a global audience of more than 50,000 unique viewers every Sunday. Amid uncertainty during a pandemic, it is evident that more people are impacted by the Gospel.

“We had to get our pastors online quickly, creating home recording kits to stream via Zoom to maintain community and contact with our congregants. It was a season to adapt and provide remote tech

NCC staff and volunteers relationships; something that I’ve learnt in my years as a salesperson.

“All our current staff were volunteers, but they developed their skills and eventually took on full-time responsibility when the right time arrived. Nothing substitutes passionate volunteers rising through the ranks who share the same vision.”

Broadcasting from the Star, services are livestreamed to satellite campuses across Singapore. NCC chose not to broadcast its services

support and education for home recording and streaming. It was back to basics, offering microphone placement tips and recommending audio equipment. For our weekly online services, we are very blessed to already have the technical infrastructure and people in place to produce a quality broadcast programme for our church members.

There were still things to learn, like managing audio dynamics and meeting loudness standards but

I’m grateful that I could tap into knowledge gained from past work experiences.

“To keep up to date with changes in technology, I read resources such as Worship AVL and listened to other professionals share their experiences. I learnt about the infrastructure at Lakewood from engineers who are both open and humble and really admire the Hillsong engineers, who are so passionate and never afraid to experiment in finding a better solution.

“As much as I am passionate about the audio gear, I am mindful that we need to be good stewards of our resources when making decisions on equipment that has to last us for many years to come.

Some years ago, we were deciding on postproduction processing software and hardware. There are lots of good brands available on the market, but we eventually went with Waves as our choice for both live and postproduction processing. More recently, we had the opportunity to upgrade the DiGiCo SD7 consoles at the Star with Quantum engines.

Together with the introduction of the Waves SuperRack, they work seamlessly and give us a powerful processing platform for live vocal tuning and dynamics processing used for our online services.”

Above all, Eng loves the people aspect. “I am thankful and blessed having had the opportunity to meet such wonderful people from all walks of life. Connecting with new volunteers that join us, to meeting TV networks during our travels and interacting with technical teams from other churches have all been a fulfilling experience, and I look forward to more such opportunities in the near future.” www.newcreation.org.sg

58 WORSHIP AVL May–June 2021

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A10

ON BRAND. ON TARGET. IMPECCABLE PLUG-AND-PLAY SOUND FOR MID-SIZE CONGREGATIONS A10

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50 to 500. A10 can be mounted on a pole for intimate gatherings, or for larger events, can be stacked or flown in vertical and horizontal arrays. A10 provides adjustable coverage with exceptional sound quality in a 2-way 10’’ passive enclosure. A10 is lightweight, weather-resistant, and combines plug-and-play ease with global brand acceptance.

Join our provider network with A10. Welcome to the Best Sound.

www.l-acoustics.com

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